Arri makes the very well known line of fresnel hot lights used mainly in film and video broadcast, at least historically. These lights are super useful because you can use them in so many ways. The only problem for those of us on a budget, of course, is the price. The 650 with barn doors will cost somewhere around $450 US.
In the last few years, we've seen a bunch of Chinese manufacturers produce clones of the Arri fresnel lights at much more aggressive prices. Most of them range between $100 and $200 US for the 650 watt models.
I recently bought a 650 watt:
http://amzn.to/1Eq72kK
And you can find the genuine Arri here:
http://www.bhphotovideo.com/c/product/72020-REG/Arri_531600_650_Watt_Plus_Tungsten.html/BI/19904/KBID/12941/kw/ARF650/DFF/d10-v2-t1-xARF650
(Note that is the light without barn doors which cost an additional ~$65 US)
In this review we look at whether the clone that costs about 1/4 the price is just as good, or at least good enough.
Music by Curtis Judd
This episode shot with the following:
- Nikon D600
- Nikkor 80-200mm f/1.8D Lens
- RODE NTG-2 ShotgunMicrophone
- Tascam DR-100 mk II Recorder
- LS Pro PhotoStudio TS 650 W fresnel light

published:06 Aug 2013

views:32603

Today I discuss the Dracast Fresnel2000DaylightLEDLight. We used it on set on our short and I really like it!
The Fresnel 2000 Daylight LED Light from Dracast is packed with the latest LED technology backed with solid construction, intuitive design and a wide 15-60 degree range of beam adjustment. The daylight balanced light has a Kelvin temperature or 5,600 for work outdoors or to match other light sources such as HMIs. Dimming from 0-100% is easily done locally on the unit or remotely via DMX.
The Fresnel 2000 outputs the equivalent of a 2,000W tungsten halogen Fresnel while running cool to the touch and consuming a fraction of the power, resulting in lower HVAC running costs in the studio and a quick return on your investment. The light ships with a 100-240 VAC power adapter for worldwide use and it also runs on 24 VDC in locations where mains power is unavailable. The Fresnel 2000 comes with a 5/8" receiver for hanging or stand mounting.
The performance of a large fresnel fixture comes together with the advantages of LED technology in the Dracast LED Fresnel Series. The Dracast Fresnel2000 houses an array of 48 high-powered, surface-mount LEDs firing behind an ultra-efficient fresnel lens. The LED array is carefully inspected to ensure outstanding color consistency while the fresnel lens ensures maximum output captured from each ultra-bright 5 watt LED.
All this adds up to a light fixture that delivers tremendous light output while using just 200 watts. Add to this a completely silent, passive, heat-sink cooling system, and the Dracast Fresnel series is an extremely versatile fixture, perfectly suited for any major studio or field application.

We are getting more and more technical with our lighting goodness and today we are taking a close look at the differences between daylight and tungsten in terms of color balance for both lights and the white balance in your camera. With a clear understanding of these two main elements of lighting we can move on to manipulate color in lighting to achieve incredible epic cinematic images.
If you guys like or don't like this new type of filmmaking content let me know in the comments section below. Any feedback helps.
If you enjoyed this video on cinematic lighting, give it a thumbs up and share it with your friends!
Get this AWESOME TEMPLATE: https://goo.gl/2N1PMk
NeedAudioLogos & Idents?: https://goo.gl/SGqvA2
Get MUSIC PACKS for your projects HERE: https://goo.gl/cX7tdN
Huge thanks to the amazingly talented and beautiful model. Follow her on Instagram! ----- @nyc_yrj
Big thanks to Steven Grullon for all the help. Follow him on IG: @stevenoiz
Light Kit used: http://goo.gl/9WmW7c
▶MY INSTAGRAM: http://instagram.com/kriscoart
▶FOLLOW ME ON TWITTER: https://twitter.com/kriscoart
▶MY FACEBOOK: www.facebook.com/kriscoartproductions
MUSIC BY:
Y&V - Lune
Edited in Premiere CC
For business inquiries please contact me here:
kriscoartproductions@gmail.com
Thank you for watching
-Transcript-
Before jumping into colors and they can be used to support and further the story, in part one of this video, we'll explore some basic concepts that will be the foundation of what's to come.
So before talking about coloring your lights, let's take it a step back and talk about color correcting your lights. This topic can get pretty extensive and I will probably have a separate video for the various types of lights that require different types of correction, but for this video we will just focus on tungsten and daylight color temperature in a broader way.
The two might sound familiar to you even if you don't have much experience with lighting since they are often times white balance presets on your camera. The color temperature for your white balance on your camera and the color temperature of lights are very different things that serve the same purpose. Before we dive into what it means as far as lights and what it means as far as white balance let's take a look at the color temperature and how it reads in general.
Like I mentioned in the last video, tungsten is measured at 3200K and Kelvin is the unit of measurement for color temperature. This reads as a warm orangish look.
Then we have Daylight balance which is on the cooler blueish side of the color temperature spectrum.
In camera you are adjusting your white balance to read your scene properly (unless you are going for a particular type of effect). So if you are inside and have a bunch of lamps with incandescent light bulbs, which are usually tungsten balanced, then you would set your camera's white balance to tungsten. If your primary source of light is, lets say, coming from a window, then you would set your camera's white balance to Daylight since the color temperature coming in from the sunlight would measure roughly at around 5600K.
Beyond the camera, in your scene you can control what color temperature your lights are. You can do this simply by deciding whether or not your primary source is the sun or a desk lamp for example.
You can tie this in with what we talked about last week which is motivating your light with practical lights or by establishing a scene with a wide shot that lets the viewer understand where light is coming from.
You can then color correct individual lights to read at a certain color temperature to match the source of that light. So for example we can set our back light to daylight balance and keep our key and fill tungsten. This could work if in your scene there is a window behind our subject and a lamp in the room casting a warmer light.
This stuff might sound confusing at first especially when you are designing your lights in your scene but with time it becomes easier. Key points to remember for now are
TUNGSTEN - Warm/OrangeLook 3200K (Indoors)
DAYLIGHT - Cool/Blue Look 5600K (Outdoors)
So now that we understand this in theory, how do we actually do it?
The answer is gels.
For this video we are going to look at color correcting gels. These are slightly different than normal coloring gels since color correcting gels are used to convert the color balance of a light. The B in CTB stands for Blue. The O in CTO stands for Orange.
If you want to warm up a daylight balanced light you would add a CTO gel. If you want to convert a tungsten balance light to a cooler and more blue color then you would add a CTB gel.
There are also a number of gels that convert the numerous types of common fluorescent lights to mix better with tungsten or daylight sources but I will dedicate a full video that will go over every type of light and what gel to use to color correct those types of lights based on what you need.

My favorite wedding filmmaking gear: https://kit.com/whoismatt
Today, I have a new tutorial for you all about how I film dancing at a wedding reception. In it, I cover four key tips that should help your improve your footage of people dancing during a wedding reception. The open dance floor doesn't have to be boring or intimidating! It can be a lot of fun, I promise.
In this video I cover:
😀How to interact with the couple, wedding coordinator, and DJ when preparing to film the dancing at the reception.
💡A way to light the dance floor and make it look incredible even when there's awful venue lighting.
💃My go-to technique to get more energetic dancing shots that show how much fun the wedding guests were having.
😮The exact way I shoot to make editing dancing footage super easy in post (it's almost editing itself!)
If any of that interests you, I would highly recommend checking out the video. :)
Get the lights, stands, and dimmer I talked about in the video at this link: https://kit.com/whoismatt/reception-lighting-gear-for-wedding-filmmakers#recommendation228324
Here are links to the lights and dimmer I talked about in the video:
- Arri 150WattLight: http://www.amazon.com/dp/B0067HQX24?tag=whoismatt_kit-20
- Arri Barn Doors: http://www.amazon.com/dp/B000B75RWS?tag=whoismatt_kit-20
- Light Dimmer: http://www.amazon.com/dp/B00YEGVC6W?tag=whoismatt_kit-20
- CheetahStand light Stand: http://www.amazon.com/dp/B0051CK5FM?tag=whoismatt_kit-20
- Lowel Pro-light: http://www.bhphotovideo.com/c/product/285941-REG/Lowel_P2_101_Pro_Light_Focus_Flood_Light.html/BI/7258/KBID/7778/KWID/KIT
- Lowel Pro-light Barn Doors: http://www.amazon.com/dp/B0000ALKJR?tag=whoismatt_kit-20
- Dedolight: http://www.bhphotovideo.com/c/product/298701-REG/Dedolight_DLHDIM4U_DLH4_150W_Spotlight_with.html/BI/7258/KBID/7778/KWID/KIT
- Dedolight Barn Doors: http://www.bhphotovideo.com/c/product/382390-REG/Dedolight_DBD8_8_Leaf_Barndoor_Set.html/BI/7258/KBID/7778/KWID/KIT
Check out the wedding films I used in this video:
👰Meant To BeTogether Since Grade School: https://www.youtube.com/watch?v=dUrvT8utN8o
👰Scotland Meets Texas: https://www.youtube.com/watch?v=xF7jKvIFphA
👰High SchoolSweethearts in the Hill Country: https://www.youtube.com/watch?v=lBjf09gJuzM
👰My breath of life, my other half, my Cinderella: https://www.youtube.com/watch?v=EGWJSsJ6SzA
As always, if you have any questions or comments, please feel free to leave one below or get in touch through my blog: http://whoismatt.com
🎥This vlog was filmed with the Sony A7sii, a really cool camera that you can check out on Amazon here: http://amzn.to/2mx5IwA.
📷You can check out the rest of the gear I use for filmmaking at my GearPage on my site at http://whoismatt.com/gear
🤓I am also now offering one-on-one personal filmmaker consulting! Wanna talk about cameras, lighting, or booking clients? Let's do it! http://whoismatt.com/consulting
If you want to keep up with my photos, videos, and other behind-the-scenes stuff, follow me on Instagram at http://www.instagram.com/whoismatt
I also post a ton of video related things to my Facebook Page at http://www.facebook.com/whoismattcom
Music licensing sites I recommend:
🎧 SoundStripe - http://bit.ly/sound_stripe (use the coupon code "WHOISMATT" for 10% off a yearly or monthly subscription!)
🎷 ART LIST - http://bit.ly/artlist_music_licensing
🎤 Filmstro - http://bit.ly/filmstro (use the coupon code "WHOISMATT20_ANN" for 20% off all yearly licenses)
SENDSTUFF TO:
Matt JohnsonPO Box #451602
Garland, TX 75045
USA

published:06 Mar 2017

views:40207

This is our first installment of our Lighting 101 series, where Lauren walks us through an important concept in film lighting: the quality of your light-- i.e. how hard or soft your light is.
In this video we cover the differences between hard and soft light, how the size and distance of your source affect the quality of your light, how to create hard and soft light using those concepts, and what diffusion actually does! Not only that, we'll tell you how to apply these concepts to your own lighting at home.
Have more questions? Ask Lauren directly in our forums!
http://j.mp/Lighting101Quality
For those interested, the lights used were:
HARDLIGHT:
800 Joleko with 50 degree barrel
SOFT LIGHT:
Two 4' 4Bank Kinos stacked on top of each other
DIFFUSION SECTION:
250 Diffusion Gel hand-held in front of the Joleko
Astra 1x1 Bicolor Litepanel, softbox added
Sola 6 Litepanel DaylightFresnel, bounced into large styrofoam bounce card
Inca 12 Litepanel Tungsten Fresnel, shot throught 8x8' silk on frame
- - -
Questions about our sponsors and how they work? A video on that soon, but we have an open policy and can answer your questions directly on our forums: http://discuss.rocketjump.com
- - -
Thanks for watching! More videos at http://school.rocketjump.com!
We are live on YouTube every Thursday at 4PM PST!
You can also follow us on Facebook & Twitter:
http://www.facebook.com/RJFilmSchool
https://twitter.com/rjfilmschool

published:29 Sep 2016

views:92730

Aircraft Carrier playlist: https://www.youtube.com/playlist?list=PLFA956A25F3C04DCF
US NavyTrainingFilm playlist: https://www.youtube.com/playlist?list=PLA40407C12E5E35A7
more at: http://scitech.quickfound.net/aviation_news_and_search.html
Detailed description of the Fresnel Lens Optical Landing System (FLOLS) used on US aircraft carriers.
US Navy Training Film MN-10442a
FLOLS Operation (MN-10442b): https://www.youtube.com/watch?v=vUFqnldTUI8
Originally a public domain film from the US Navy, slightly cropped to remove uneven edges, with the aspect ratio corrected, and one-pass brightness-contrast-color correction & mild video noise reduction applied.
The soundtrack was also processed with volume normalization, noise reduction, clipping reduction, and/or equalization (the resulting sound, though not perfect, is far less noisy than the original).
https://en.wikipedia.org/wiki/Optical_landing_system
Wikipedia license: http://creativecommons.org/licenses/by-sa/3.0/
An optical landing system (OLS) (nicknamed "meatball" or simply, "Ball") is used to give glidepath information to pilots in the terminal phase of landing on an aircraft carrier. From the beginning of aircraft landing on ships in the 1920s to the introduction of OLSs, pilots relied solely on their visual perception of the landing area and the aid of the Landing Signal Officer (LSO in the U.S. Navy, or "batsman" in the Commonwealth navies). LSOs used colored flags, cloth paddles and lighted wands. The OLS was developed after World War II and was deployed on U.S. Navy carriers from 1955. In its developed form, the OLS consists of a horizontal row of green lights, used as a reference, and a column of vertical lights. The vertical lights signal whether the aircraft is too high, too low, or at the correct altitude as the pilot descends the glide slope towards the carrier's deck. Other lights give various commands and can be used to require the pilot to abort the landing and "go around." The OLS remains under control of the LSO, who can also communicate with the pilot via radio...
At least three sets of lights are used, regardless of the actual technology:
- Datum lights – a horizontal row of green lamps used to give the pilot a reference against which he may judge his position relative to the glide slope.
- Ball (or "meatball"; also known as "the source") – indicates the relative position of the aircraft with reference to glide slope. If the aircraft is high, the ball will be above the datum lights; if the aircraft is low, the ball will be similarly below the datum lights. The further the aircraft is from the glide slope, the further the ball will be above or below the datum lights. If the aircraft gets dangerously low, the ball appears red. If the aircraft gets too high, the ball appears to go off the top.
- Wave-off lights – red flashing lamps which, when lit, indicate that the pilot must add full power and go around – a mandatory command. When the wave-off lights are lit, all other lamps are extinguished. The wave-off lights are operated manually by the LSO.
Additionally, some (particularly later) optical landing systems include additional lamps:
- Cut lights – Green lamps used to signal different things based on where the approaching aircraft is in its approach. Early in a no-radio or "zip-lip" approach (which is routine in modern carrier operations), Cut Lights are flashed for approximately 2–3 seconds to indicate that the aircraft is cleared to continue the approach. Subsequent flashes of the Cut Lights are used to prompt the pilot to add power. The longer the lights are left on, the more power should be added. Cut Lights are operated manually by the LSO...
The first OLS was the mirror landing aid, one of several British inventions...
Fresnel lens optical landing system (FLOLS)
Later systems kept the same basic function of the mirror landing aid, but upgraded components and functionality. The concave mirror, source light combination was replaced with a series of fresnel lenses. The Mk 6 Mod 3 FLOLS was tested in 1970 and had not changed much, except for when ship’s heave was taken into account with an Inertial Stabilization system. These systems are still in wide use on runways at US Naval Air Stations.
Improved fresnel lens optical landing system (IFLOLS)
The IFLOLS, designed by engineers at NAECLakehurst, NJ, keeps the same basic design but improves on the FLOLS, giving a more precise indication of aircraft position on the glideslope. A prototype IFLOLS was tested on board USS George Washington (CVN-73) in 1997 and every deploying aircraft carrier since 2004 has had the system. The Improved Fresnel Lens Optical Landing System, IFLOLS, uses a fiber optic "source" light, projected through lenses to present a sharper, crisper light. This has enabled pilots to begin to fly "the ball" further away from the ship making the transition from instrument flight to visual flight smoother...

published:03 Sep 2017

views:35704

When it comes to filmmaking, lighting is a powerful tool that you need to understand when it comes to telling your story. Learn 6 ways to use light with Diffused, Bounce, and NegativeFill. These light modifiers are a huge help when shaping light. We will compare hard light vs. soft light. To create a soft light the light must be diffused. We will also show how to bounce light from a diffuser and a white board. And finally, we will take a look at the power of negative fill to create contrast.
MusicUsed in this Video:
http://bit.ly/2t7xrrP
Equipment Used in this Video:
KeyLight: http://amzn.to/2vXqsQg
5in1 with Diffuser: http://amzn.to/2vWMva1
Reflector Holder: tp://amzn.to/2x6bIz5
FloppyCutter: http://amzn.to/2vSD3Go
Additional Gear I use:
CAMERA
BlackMagic CinemaCamera: http://amzn.to/2pwEEzq
LENSES
Canon L 16-35mm: http://amzn.to/2p1wJZF
Rokinon 50mm: http://amzn.to/2q3msNW
Rokinon 85mm: http://amzn.to/2oJ8UTL
LIGHTING
Key Light: http://amzn.to/2tbkw7X
Diffusion for Key Light: http://amzn.to/2sbU894
Fresnel for Key Light: http://amzn.to/2sbZOja
Back & Ambient Light: http://amzn.to/2otKXE3
GELS
ColorCorrection: http://amzn.to/2taVhCc
Color Effects: http://amzn.to/2taJjbD
Music from PremiumBeat.com
https://www.premiumbeat.com/
LIGHT STANDS & GRIP
C-Stand: http://amzn.to/2rjyC6D
Light Stand: http://amzn.to/2rb3an7
Social Media:
Drop a like on Facebook: https://www.facebook.com/sonduckfilm
Hit me up on Instagram: http://instagram.com/sonduckfilm
Follow me on Twitter: https://twitter.com/SonduckFilm
Connect with me on Linkedin: https://www.linkedin.com/in/joshnoel
Visit our website https://www.sonduckfilm.com for more tutorials, giveaways and film and photo gear!

published:21 Aug 2017

views:2928

More info here: http://tomantosfilms.com/5099/led-fresnel-lights/
Buy these lights and other CAME products on their eBay store: http://bit.ly/1mQvoit
And their website: http:www.came-tv.com/
In this video I review 2 LEDFresnel lights from a Chinese company CAME-TV. These are great lights because they are just as powerful as a 1000 watt tungsten halogen light yet they only use 200 watts of electricity PLUS they don't produce any heat.
Exclusive film tutorials: http://tomantosfilms.com/store/
Watch hours of free tutorials here: http://bit.ly/Tmd65z
_____________________________
Follow me on:
Twitter: http://twitter.com/TomAntos
Facebook http://www.facebook.com/TomAntosFilms
Google+ http://bit.ly/18oyRJB
My name's Tom Antos and I make videos. I am a film director and cinematographer with over 12 years experience in VFX & animation. Jak sie masz?! I'm originally from Poland ;) Check out my channel here: http://www.youtube.com/user/polcan99

published:25 Nov 2014

views:24703

At NAB 2016, we talked with Pete Smith at VisionSmith for an overview of their new ReLamp LED bulbs. With these, you can convert your old Arri or Mole-Richardson tungsten fresnel lights to LED at a fraction of the price of most of the current fresnel LED instruments on the market. Your fresnel still focuses just like with the halogen bulbs and the CRI for the daylight balanced bulb is 93, and for the tungsten balanced bulb is 98.
Special thanks to Scott Vanderbilt who was kind enough to bring his brand new SonyFS5 camera to film this series. He used this opportunity to learn his camera, so please understand that he did us a huge favor and also learned when auto focus would work or not work. :)
If you’d like to improve your sound recording skills for film, please have a look at our Sound Recording for Video course over at http://school.learnlightandsound.com
Visit us at http://learnlightandsound.com for more updates on how to improve your lighting and sound for video. Also be sure to subscribe to get new weekly episodes!
Gear mentioned in or used to record this episode:
—————————————————————————————
VisionSmith ReLamp LED Bulb for Arri and Mole-Richardson FresnelLights
Coming soon to Adorama and Barbizon
http://visionsmith.com
—————————————————————————————
Sennheiser MD 46Dynamic Cardioid Microphone (great handheld mic for show floor interviews)
Amazon: http://amzn.to/1T4CaLN
B&H Photo/Video: http://www.bhphotovideo.com/c/product/223940-REG/Sennheiser_MD46_MD46_Dynamic_ENG.html/BI/19904/KBID/12941/kw/SEMD46/DFF/d10-v2-t1-xSEMD46
—————————————————————————————
Sony FS5 Camera (Yes, the focus was hunting - lesson learned that the face detect auto focus does not work well when faces turn to the side)
B&H Photo/Video: http://www.bhphotovideo.com/c/product/1185424-REG/sony_pxw_fs5_xdcam_super_35.html/BI/19904/KBID/12941/kw/SOPXWFS5/DFF/d10-v2-t1-xSOPXWFS5
—————————————————————————————
Copyright 2016 by Curtis Judd
Ethics statement: Some of the links above are affiliate links which means that if you click on them and buy, I get a small commission. You don't pay more by clicking these links than if you just went to the retailer’s web site on your own. I use the proceeds to buy additional gear to review and help you improve your sound, lighting, and video. Thanks for your support!

Surname

A surname or family name is a name added to a given name. In many cases, a surname is a family name and many dictionaries define "surname" as a synonym of "family name". In the western hemisphere, it is commonly synonymous with last name because it is usually placed at the end of a person's given name.

The style of having both a family name (surname) and a given name (forename) is far from universal. In many countries, it is common for ordinary people to have only one name or mononym.

The concept of a "surname" is a relatively recent historical development, evolving from a medieval naming practice called a "byname". Based on an individual's occupation or area of residence, a byname would be used in situations where more than one person had the same name.

Film

A film, also called a movie, motion picture or photoplay, is a series of still images which, when shown on a screen, creates the illusion of moving images due to the phi phenomenon.
This optical illusion causes the audience to perceive continuous motion between separate objects viewed rapidly in succession. A film is created by photographing actual scenes with a motion picture camera; by photographing drawings or miniature models using traditional animation techniques; by means of CGI and computer animation; or by a combination of some or all of these techniques and other visual effects. The word "cinema", short for cinematography, is often used to refer to the industry of films and filmmaking or to the art of filmmaking itself. The contemporary definition of cinema is the art of simulating experiences to communicate ideas, stories, perceptions, feelings, beauty or atmosphere by the means of recorded or programmed moving images along with other sensory stimulations.

Overview

When light moves from a medium of a given refractive index, n1, into a second medium with refractive index, n2, both reflection and refraction of the light may occur. The Fresnel equations describe what fraction of the light is reflected and what fraction is refracted (i.e., transmitted). They also describe the phase shift of the reflected light.

The equations assume the interface between the media is flat and that the media are homogeneous. The incident light is assumed to be a plane wave, and effects of edges are neglected.

S and p polarizations

The behavior depends on the polarization of the incident ray, which can be separated into 2 cases:

Power or intensity equations

In the diagram on the right, an incident light ray, IO, strikes the interface between two media of refractive indices n1 and n2 at point, O. Part of the ray is reflected as ray, OR, and part refracted as ray, OT. The angles that the incident, reflected and refracted rays make to the normal of the interface are given as θi, θr and θt, respectively.

The U.S. Navy traces its origins to the Continental Navy, which was established during the American Revolutionary War and was essentially disbanded as a separate entity shortly thereafter. It played a major role in the American Civil War by blockading the Confederacy and seizing control of its rivers. It played the central role in the World War II defeat of Japan. The 21st century U.S. Navy maintains a sizable global presence, deploying in such areas as East Asia, the Mediterranean, and the Middle East. It is a blue-water navy with the ability to project force onto the littoral regions of the world, engage in forward areas during peacetime, and rapidly respond to regional crises, making it an active player in U.S. foreign and defense policy.

The main source of light on Earth is the Sun. Sunlight provides the energy that green plants use to create sugars mostly in the form of starches, which release energy into the living things that digest them. This process of photosynthesis provides virtually all the energy used by living things. Historically, another important source of light for humans has been fire, from ancient campfires to modern kerosene lamps. With the development of electric lights and power systems, electric lighting has effectively replaced firelight. Some species of animals generate their own light, a process called bioluminescence. For example, fireflies use light to locate mates, and vampire squids use it to hide themselves from prey.

Review of Arri 650 Fresnel Chinese Clone

Arri makes the very well known line of fresnel hot lights used mainly in film and video broadcast, at least historically. These lights are super useful because you can use them in so many ways. The only problem for those of us on a budget, of course, is the price. The 650 with barn doors will cost somewhere around $450 US.
In the last few years, we've seen a bunch of Chinese manufacturers produce clones of the Arri fresnel lights at much more aggressive prices. Most of them range between $100 and $200 US for the 650 watt models.
I recently bought a 650 watt:
http://amzn.to/1Eq72kK
And you can find the genuine Arri here:
http://www.bhphotovideo.com/c/product/72020-REG/Arri_531600_650_Watt_Plus_Tungsten.html/BI/19904/KBID/12941/kw/ARF650/DFF/d10-v2-t1-xARF650
(Note that is the light without barn doors which cost an additional ~$65 US)
In this review we look at whether the clone that costs about 1/4 the price is just as good, or at least good enough.
Music by Curtis Judd
This episode shot with the following:
- Nikon D600
- Nikkor 80-200mm f/1.8D Lens
- RODE NTG-2 ShotgunMicrophone
- Tascam DR-100 mk II Recorder
- LS Pro PhotoStudio TS 650 W fresnel light

2:29

FILM GEAR: Dracast Fresnel Daylight LED Light

FILM GEAR: Dracast Fresnel Daylight LED Light

FILM GEAR: Dracast Fresnel Daylight LED Light

Today I discuss the Dracast Fresnel2000DaylightLEDLight. We used it on set on our short and I really like it!
The Fresnel 2000 Daylight LED Light from Dracast is packed with the latest LED technology backed with solid construction, intuitive design and a wide 15-60 degree range of beam adjustment. The daylight balanced light has a Kelvin temperature or 5,600 for work outdoors or to match other light sources such as HMIs. Dimming from 0-100% is easily done locally on the unit or remotely via DMX.
The Fresnel 2000 outputs the equivalent of a 2,000W tungsten halogen Fresnel while running cool to the touch and consuming a fraction of the power, resulting in lower HVAC running costs in the studio and a quick return on your investment. The light ships with a 100-240 VAC power adapter for worldwide use and it also runs on 24 VDC in locations where mains power is unavailable. The Fresnel 2000 comes with a 5/8" receiver for hanging or stand mounting.
The performance of a large fresnel fixture comes together with the advantages of LED technology in the Dracast LED Fresnel Series. The Dracast Fresnel2000 houses an array of 48 high-powered, surface-mount LEDs firing behind an ultra-efficient fresnel lens. The LED array is carefully inspected to ensure outstanding color consistency while the fresnel lens ensures maximum output captured from each ultra-bright 5 watt LED.
All this adds up to a light fixture that delivers tremendous light output while using just 200 watts. Add to this a completely silent, passive, heat-sink cooling system, and the Dracast Fresnel series is an extremely versatile fixture, perfectly suited for any major studio or field application.

CINEMATIC LIGHTING: Understanding Daylight vs Tungsten

We are getting more and more technical with our lighting goodness and today we are taking a close look at the differences between daylight and tungsten in terms of color balance for both lights and the white balance in your camera. With a clear understanding of these two main elements of lighting we can move on to manipulate color in lighting to achieve incredible epic cinematic images.
If you guys like or don't like this new type of filmmaking content let me know in the comments section below. Any feedback helps.
If you enjoyed this video on cinematic lighting, give it a thumbs up and share it with your friends!
Get this AWESOME TEMPLATE: https://goo.gl/2N1PMk
NeedAudioLogos & Idents?: https://goo.gl/SGqvA2
Get MUSIC PACKS for your projects HERE: https://goo.gl/cX7tdN
Huge thanks to the amazingly talented and beautiful model. Follow her on Instagram! ----- @nyc_yrj
Big thanks to Steven Grullon for all the help. Follow him on IG: @stevenoiz
Light Kit used: http://goo.gl/9WmW7c
▶MY INSTAGRAM: http://instagram.com/kriscoart
▶FOLLOW ME ON TWITTER: https://twitter.com/kriscoart
▶MY FACEBOOK: www.facebook.com/kriscoartproductions
MUSIC BY:
Y&V - Lune
Edited in Premiere CC
For business inquiries please contact me here:
kriscoartproductions@gmail.com
Thank you for watching
-Transcript-
Before jumping into colors and they can be used to support and further the story, in part one of this video, we'll explore some basic concepts that will be the foundation of what's to come.
So before talking about coloring your lights, let's take it a step back and talk about color correcting your lights. This topic can get pretty extensive and I will probably have a separate video for the various types of lights that require different types of correction, but for this video we will just focus on tungsten and daylight color temperature in a broader way.
The two might sound familiar to you even if you don't have much experience with lighting since they are often times white balance presets on your camera. The color temperature for your white balance on your camera and the color temperature of lights are very different things that serve the same purpose. Before we dive into what it means as far as lights and what it means as far as white balance let's take a look at the color temperature and how it reads in general.
Like I mentioned in the last video, tungsten is measured at 3200K and Kelvin is the unit of measurement for color temperature. This reads as a warm orangish look.
Then we have Daylight balance which is on the cooler blueish side of the color temperature spectrum.
In camera you are adjusting your white balance to read your scene properly (unless you are going for a particular type of effect). So if you are inside and have a bunch of lamps with incandescent light bulbs, which are usually tungsten balanced, then you would set your camera's white balance to tungsten. If your primary source of light is, lets say, coming from a window, then you would set your camera's white balance to Daylight since the color temperature coming in from the sunlight would measure roughly at around 5600K.
Beyond the camera, in your scene you can control what color temperature your lights are. You can do this simply by deciding whether or not your primary source is the sun or a desk lamp for example.
You can tie this in with what we talked about last week which is motivating your light with practical lights or by establishing a scene with a wide shot that lets the viewer understand where light is coming from.
You can then color correct individual lights to read at a certain color temperature to match the source of that light. So for example we can set our back light to daylight balance and keep our key and fill tungsten. This could work if in your scene there is a window behind our subject and a lamp in the room casting a warmer light.
This stuff might sound confusing at first especially when you are designing your lights in your scene but with time it becomes easier. Key points to remember for now are
TUNGSTEN - Warm/OrangeLook 3200K (Indoors)
DAYLIGHT - Cool/Blue Look 5600K (Outdoors)
So now that we understand this in theory, how do we actually do it?
The answer is gels.
For this video we are going to look at color correcting gels. These are slightly different than normal coloring gels since color correcting gels are used to convert the color balance of a light. The B in CTB stands for Blue. The O in CTO stands for Orange.
If you want to warm up a daylight balanced light you would add a CTO gel. If you want to convert a tungsten balance light to a cooler and more blue color then you would add a CTB gel.
There are also a number of gels that convert the numerous types of common fluorescent lights to mix better with tungsten or daylight sources but I will dedicate a full video that will go over every type of light and what gel to use to color correct those types of lights based on what you need.

How To Film Incredible Dancing Footage In Your Wedding Films!

My favorite wedding filmmaking gear: https://kit.com/whoismatt
Today, I have a new tutorial for you all about how I film dancing at a wedding reception. In it, I cover four key tips that should help your improve your footage of people dancing during a wedding reception. The open dance floor doesn't have to be boring or intimidating! It can be a lot of fun, I promise.
In this video I cover:
😀How to interact with the couple, wedding coordinator, and DJ when preparing to film the dancing at the reception.
💡A way to light the dance floor and make it look incredible even when there's awful venue lighting.
💃My go-to technique to get more energetic dancing shots that show how much fun the wedding guests were having.
😮The exact way I shoot to make editing dancing footage super easy in post (it's almost editing itself!)
If any of that interests you, I would highly recommend checking out the video. :)
Get the lights, stands, and dimmer I talked about in the video at this link: https://kit.com/whoismatt/reception-lighting-gear-for-wedding-filmmakers#recommendation228324
Here are links to the lights and dimmer I talked about in the video:
- Arri 150WattLight: http://www.amazon.com/dp/B0067HQX24?tag=whoismatt_kit-20
- Arri Barn Doors: http://www.amazon.com/dp/B000B75RWS?tag=whoismatt_kit-20
- Light Dimmer: http://www.amazon.com/dp/B00YEGVC6W?tag=whoismatt_kit-20
- CheetahStand light Stand: http://www.amazon.com/dp/B0051CK5FM?tag=whoismatt_kit-20
- Lowel Pro-light: http://www.bhphotovideo.com/c/product/285941-REG/Lowel_P2_101_Pro_Light_Focus_Flood_Light.html/BI/7258/KBID/7778/KWID/KIT
- Lowel Pro-light Barn Doors: http://www.amazon.com/dp/B0000ALKJR?tag=whoismatt_kit-20
- Dedolight: http://www.bhphotovideo.com/c/product/298701-REG/Dedolight_DLHDIM4U_DLH4_150W_Spotlight_with.html/BI/7258/KBID/7778/KWID/KIT
- Dedolight Barn Doors: http://www.bhphotovideo.com/c/product/382390-REG/Dedolight_DBD8_8_Leaf_Barndoor_Set.html/BI/7258/KBID/7778/KWID/KIT
Check out the wedding films I used in this video:
👰Meant To BeTogether Since Grade School: https://www.youtube.com/watch?v=dUrvT8utN8o
👰Scotland Meets Texas: https://www.youtube.com/watch?v=xF7jKvIFphA
👰High SchoolSweethearts in the Hill Country: https://www.youtube.com/watch?v=lBjf09gJuzM
👰My breath of life, my other half, my Cinderella: https://www.youtube.com/watch?v=EGWJSsJ6SzA
As always, if you have any questions or comments, please feel free to leave one below or get in touch through my blog: http://whoismatt.com
🎥This vlog was filmed with the Sony A7sii, a really cool camera that you can check out on Amazon here: http://amzn.to/2mx5IwA.
📷You can check out the rest of the gear I use for filmmaking at my GearPage on my site at http://whoismatt.com/gear
🤓I am also now offering one-on-one personal filmmaker consulting! Wanna talk about cameras, lighting, or booking clients? Let's do it! http://whoismatt.com/consulting
If you want to keep up with my photos, videos, and other behind-the-scenes stuff, follow me on Instagram at http://www.instagram.com/whoismatt
I also post a ton of video related things to my Facebook Page at http://www.facebook.com/whoismattcom
Music licensing sites I recommend:
🎧 SoundStripe - http://bit.ly/sound_stripe (use the coupon code "WHOISMATT" for 10% off a yearly or monthly subscription!)
🎷 ART LIST - http://bit.ly/artlist_music_licensing
🎤 Filmstro - http://bit.ly/filmstro (use the coupon code "WHOISMATT20_ANN" for 20% off all yearly licenses)
SENDSTUFF TO:
Matt JohnsonPO Box #451602
Garland, TX 75045
USA

7:25

Lighting 101: Quality of Light

Lighting 101: Quality of Light

Lighting 101: Quality of Light

This is our first installment of our Lighting 101 series, where Lauren walks us through an important concept in film lighting: the quality of your light-- i.e. how hard or soft your light is.
In this video we cover the differences between hard and soft light, how the size and distance of your source affect the quality of your light, how to create hard and soft light using those concepts, and what diffusion actually does! Not only that, we'll tell you how to apply these concepts to your own lighting at home.
Have more questions? Ask Lauren directly in our forums!
http://j.mp/Lighting101Quality
For those interested, the lights used were:
HARDLIGHT:
800 Joleko with 50 degree barrel
SOFT LIGHT:
Two 4' 4Bank Kinos stacked on top of each other
DIFFUSION SECTION:
250 Diffusion Gel hand-held in front of the Joleko
Astra 1x1 Bicolor Litepanel, softbox added
Sola 6 Litepanel DaylightFresnel, bounced into large styrofoam bounce card
Inca 12 Litepanel Tungsten Fresnel, shot throught 8x8' silk on frame
- - -
Questions about our sponsors and how they work? A video on that soon, but we have an open policy and can answer your questions directly on our forums: http://discuss.rocketjump.com
- - -
Thanks for watching! More videos at http://school.rocketjump.com!
We are live on YouTube every Thursday at 4PM PST!
You can also follow us on Facebook & Twitter:
http://www.facebook.com/RJFilmSchool
https://twitter.com/rjfilmschool

Aircraft Carrier playlist: https://www.youtube.com/playlist?list=PLFA956A25F3C04DCF
US NavyTrainingFilm playlist: https://www.youtube.com/playlist?list=PLA40407C12E5E35A7
more at: http://scitech.quickfound.net/aviation_news_and_search.html
Detailed description of the Fresnel Lens Optical Landing System (FLOLS) used on US aircraft carriers.
US Navy Training Film MN-10442a
FLOLS Operation (MN-10442b): https://www.youtube.com/watch?v=vUFqnldTUI8
Originally a public domain film from the US Navy, slightly cropped to remove uneven edges, with the aspect ratio corrected, and one-pass brightness-contrast-color correction & mild video noise reduction applied.
The soundtrack was also processed with volume normalization, noise reduction, clipping reduction, and/or equalization (the resulting sound, though not perfect, is far less noisy than the original).
https://en.wikipedia.org/wiki/Optical_landing_system
Wikipedia license: http://creativecommons.org/licenses/by-sa/3.0/
An optical landing system (OLS) (nicknamed "meatball" or simply, "Ball") is used to give glidepath information to pilots in the terminal phase of landing on an aircraft carrier. From the beginning of aircraft landing on ships in the 1920s to the introduction of OLSs, pilots relied solely on their visual perception of the landing area and the aid of the Landing Signal Officer (LSO in the U.S. Navy, or "batsman" in the Commonwealth navies). LSOs used colored flags, cloth paddles and lighted wands. The OLS was developed after World War II and was deployed on U.S. Navy carriers from 1955. In its developed form, the OLS consists of a horizontal row of green lights, used as a reference, and a column of vertical lights. The vertical lights signal whether the aircraft is too high, too low, or at the correct altitude as the pilot descends the glide slope towards the carrier's deck. Other lights give various commands and can be used to require the pilot to abort the landing and "go around." The OLS remains under control of the LSO, who can also communicate with the pilot via radio...
At least three sets of lights are used, regardless of the actual technology:
- Datum lights – a horizontal row of green lamps used to give the pilot a reference against which he may judge his position relative to the glide slope.
- Ball (or "meatball"; also known as "the source") – indicates the relative position of the aircraft with reference to glide slope. If the aircraft is high, the ball will be above the datum lights; if the aircraft is low, the ball will be similarly below the datum lights. The further the aircraft is from the glide slope, the further the ball will be above or below the datum lights. If the aircraft gets dangerously low, the ball appears red. If the aircraft gets too high, the ball appears to go off the top.
- Wave-off lights – red flashing lamps which, when lit, indicate that the pilot must add full power and go around – a mandatory command. When the wave-off lights are lit, all other lamps are extinguished. The wave-off lights are operated manually by the LSO.
Additionally, some (particularly later) optical landing systems include additional lamps:
- Cut lights – Green lamps used to signal different things based on where the approaching aircraft is in its approach. Early in a no-radio or "zip-lip" approach (which is routine in modern carrier operations), Cut Lights are flashed for approximately 2–3 seconds to indicate that the aircraft is cleared to continue the approach. Subsequent flashes of the Cut Lights are used to prompt the pilot to add power. The longer the lights are left on, the more power should be added. Cut Lights are operated manually by the LSO...
The first OLS was the mirror landing aid, one of several British inventions...
Fresnel lens optical landing system (FLOLS)
Later systems kept the same basic function of the mirror landing aid, but upgraded components and functionality. The concave mirror, source light combination was replaced with a series of fresnel lenses. The Mk 6 Mod 3 FLOLS was tested in 1970 and had not changed much, except for when ship’s heave was taken into account with an Inertial Stabilization system. These systems are still in wide use on runways at US Naval Air Stations.
Improved fresnel lens optical landing system (IFLOLS)
The IFLOLS, designed by engineers at NAECLakehurst, NJ, keeps the same basic design but improves on the FLOLS, giving a more precise indication of aircraft position on the glideslope. A prototype IFLOLS was tested on board USS George Washington (CVN-73) in 1997 and every deploying aircraft carrier since 2004 has had the system. The Improved Fresnel Lens Optical Landing System, IFLOLS, uses a fiber optic "source" light, projected through lenses to present a sharper, crisper light. This has enabled pilots to begin to fly "the ball" further away from the ship making the transition from instrument flight to visual flight smoother...

When it comes to filmmaking, lighting is a powerful tool that you need to understand when it comes to telling your story. Learn 6 ways to use light with Diffused, Bounce, and NegativeFill. These light modifiers are a huge help when shaping light. We will compare hard light vs. soft light. To create a soft light the light must be diffused. We will also show how to bounce light from a diffuser and a white board. And finally, we will take a look at the power of negative fill to create contrast.
MusicUsed in this Video:
http://bit.ly/2t7xrrP
Equipment Used in this Video:
KeyLight: http://amzn.to/2vXqsQg
5in1 with Diffuser: http://amzn.to/2vWMva1
Reflector Holder: tp://amzn.to/2x6bIz5
FloppyCutter: http://amzn.to/2vSD3Go
Additional Gear I use:
CAMERA
BlackMagic CinemaCamera: http://amzn.to/2pwEEzq
LENSES
Canon L 16-35mm: http://amzn.to/2p1wJZF
Rokinon 50mm: http://amzn.to/2q3msNW
Rokinon 85mm: http://amzn.to/2oJ8UTL
LIGHTING
Key Light: http://amzn.to/2tbkw7X
Diffusion for Key Light: http://amzn.to/2sbU894
Fresnel for Key Light: http://amzn.to/2sbZOja
Back & Ambient Light: http://amzn.to/2otKXE3
GELS
ColorCorrection: http://amzn.to/2taVhCc
Color Effects: http://amzn.to/2taJjbD
Music from PremiumBeat.com
https://www.premiumbeat.com/
LIGHT STANDS & GRIP
C-Stand: http://amzn.to/2rjyC6D
Light Stand: http://amzn.to/2rb3an7
Social Media:
Drop a like on Facebook: https://www.facebook.com/sonduckfilm
Hit me up on Instagram: http://instagram.com/sonduckfilm
Follow me on Twitter: https://twitter.com/SonduckFilm
Connect with me on Linkedin: https://www.linkedin.com/in/joshnoel
Visit our website https://www.sonduckfilm.com for more tutorials, giveaways and film and photo gear!

22:56

LED Fresnel Lights

LED Fresnel Lights

LED Fresnel Lights

More info here: http://tomantosfilms.com/5099/led-fresnel-lights/
Buy these lights and other CAME products on their eBay store: http://bit.ly/1mQvoit
And their website: http:www.came-tv.com/
In this video I review 2 LEDFresnel lights from a Chinese company CAME-TV. These are great lights because they are just as powerful as a 1000 watt tungsten halogen light yet they only use 200 watts of electricity PLUS they don't produce any heat.
Exclusive film tutorials: http://tomantosfilms.com/store/
Watch hours of free tutorials here: http://bit.ly/Tmd65z
_____________________________
Follow me on:
Twitter: http://twitter.com/TomAntos
Facebook http://www.facebook.com/TomAntosFilms
Google+ http://bit.ly/18oyRJB
My name's Tom Antos and I make videos. I am a film director and cinematographer with over 12 years experience in VFX & animation. Jak sie masz?! I'm originally from Poland ;) Check out my channel here: http://www.youtube.com/user/polcan99

2:38

Convert Your Fresnel to LED with VisionSmith ReLamp: NAB 2016

Convert Your Fresnel to LED with VisionSmith ReLamp: NAB 2016

Convert Your Fresnel to LED with VisionSmith ReLamp: NAB 2016

At NAB 2016, we talked with Pete Smith at VisionSmith for an overview of their new ReLamp LED bulbs. With these, you can convert your old Arri or Mole-Richardson tungsten fresnel lights to LED at a fraction of the price of most of the current fresnel LED instruments on the market. Your fresnel still focuses just like with the halogen bulbs and the CRI for the daylight balanced bulb is 93, and for the tungsten balanced bulb is 98.
Special thanks to Scott Vanderbilt who was kind enough to bring his brand new SonyFS5 camera to film this series. He used this opportunity to learn his camera, so please understand that he did us a huge favor and also learned when auto focus would work or not work. :)
If you’d like to improve your sound recording skills for film, please have a look at our Sound Recording for Video course over at http://school.learnlightandsound.com
Visit us at http://learnlightandsound.com for more updates on how to improve your lighting and sound for video. Also be sure to subscribe to get new weekly episodes!
Gear mentioned in or used to record this episode:
—————————————————————————————
VisionSmith ReLamp LED Bulb for Arri and Mole-Richardson FresnelLights
Coming soon to Adorama and Barbizon
http://visionsmith.com
—————————————————————————————
Sennheiser MD 46Dynamic Cardioid Microphone (great handheld mic for show floor interviews)
Amazon: http://amzn.to/1T4CaLN
B&H Photo/Video: http://www.bhphotovideo.com/c/product/223940-REG/Sennheiser_MD46_MD46_Dynamic_ENG.html/BI/19904/KBID/12941/kw/SEMD46/DFF/d10-v2-t1-xSEMD46
—————————————————————————————
Sony FS5 Camera (Yes, the focus was hunting - lesson learned that the face detect auto focus does not work well when faces turn to the side)
B&H Photo/Video: http://www.bhphotovideo.com/c/product/1185424-REG/sony_pxw_fs5_xdcam_super_35.html/BI/19904/KBID/12941/kw/SOPXWFS5/DFF/d10-v2-t1-xSOPXWFS5
—————————————————————————————
Copyright 2016 by Curtis Judd
Ethics statement: Some of the links above are affiliate links which means that if you click on them and buy, I get a small commission. You don't pay more by clicking these links than if you just went to the retailer’s web site on your own. I use the proceeds to buy additional gear to review and help you improve your sound, lighting, and video. Thanks for your support!

11:13

Silent Movie Grace & Fresnel

Silent Movie Grace & Fresnel

Silent Movie Grace & Fresnel

Finally, this is the video we presented at Grace and Fresnel's wedding July 21st2012. Many people wanted to know how they met...so we decided to make a little video and exagerate certain aspects! BTW, great entertainment for the reception!

Review of Arri 650 Fresnel Chinese Clone

Arri makes the very well known line of fresnel hot lights used mainly in film and video broadcast, at least historically. These lights are super useful because you can use them in so many ways. The only problem for those of us on a budget, of course, is the price. The 650 with barn doors will cost somewhere around $450 US.
In the last few years, we've seen a bunch of Chinese manufacturers produce clones of the Arri fresnel lights at much more aggressive prices. Most of them range between $100 and $200 US for the 650 watt models.
I recently bought a 650 watt:
http://amzn.to/1Eq72kK
And you can find the genuine Arri here:
http://www.bhphotovideo.com/c/product/72020-REG/Arri_531600_650_Watt_Plus_Tungsten.html/BI/19904/KBID/12941/kw/ARF650/DFF/d10-v2-t1-xARF650
(Note that is the ligh...

published: 06 Aug 2013

FILM GEAR: Dracast Fresnel Daylight LED Light

Today I discuss the Dracast Fresnel2000DaylightLEDLight. We used it on set on our short and I really like it!
The Fresnel 2000 Daylight LED Light from Dracast is packed with the latest LED technology backed with solid construction, intuitive design and a wide 15-60 degree range of beam adjustment. The daylight balanced light has a Kelvin temperature or 5,600 for work outdoors or to match other light sources such as HMIs. Dimming from 0-100% is easily done locally on the unit or remotely via DMX.
The Fresnel 2000 outputs the equivalent of a 2,000W tungsten halogen Fresnel while running cool to the touch and consuming a fraction of the power, resulting in lower HVAC running costs in the studio and a quick return on your investment. The light ships with a 100-240 VAC power adapter for wor...

Basic Lighting Techniques

We break down some lighting terms and show how to get cinematic looks with very little light!
ikan Rayden: http://bit.ly/RAYDEN
Other ikan goodies - http://bit.ly/iKanfr
APMMusic: https://www.apmmusic.com/
Atmosphere Aerosol: http://www.atmosphereaerosol.com/
Theme Song by HelloControl: http://bit.ly/hellocontrol
In partnership with ikan and Domain.com
**New Episodes Every Monday and Thursday**
Like, Favorite and SHARE today's episode!
http://youtu.be/I-rGQVFyjTs
Subscribe for more FilmRiot!
http://www.youtube.com/subscription_center?add_user=filmriot
FilmRiot
http://www.youtube.com/FilmRiot
Facebook
https://www.facebook.com/filmriot
Twitter
http://twitter.com/FilmRiot
Instagram
https://www.instagram.com/thefilmriot/
Ryan on Twitter
http://twitter.com/ryan_connolly
Ryan...

published: 28 Jan 2017

CINEMATIC LIGHTING: Understanding Daylight vs Tungsten

We are getting more and more technical with our lighting goodness and today we are taking a close look at the differences between daylight and tungsten in terms of color balance for both lights and the white balance in your camera. With a clear understanding of these two main elements of lighting we can move on to manipulate color in lighting to achieve incredible epic cinematic images.
If you guys like or don't like this new type of filmmaking content let me know in the comments section below. Any feedback helps.
If you enjoyed this video on cinematic lighting, give it a thumbs up and share it with your friends!
Get this AWESOME TEMPLATE: https://goo.gl/2N1PMk
NeedAudioLogos & Idents?: https://goo.gl/SGqvA2
Get MUSIC PACKS for your projects HERE: https://goo.gl/cX7tdN
Huge thanks to ...

How To Film Incredible Dancing Footage In Your Wedding Films!

My favorite wedding filmmaking gear: https://kit.com/whoismatt
Today, I have a new tutorial for you all about how I film dancing at a wedding reception. In it, I cover four key tips that should help your improve your footage of people dancing during a wedding reception. The open dance floor doesn't have to be boring or intimidating! It can be a lot of fun, I promise.
In this video I cover:
😀How to interact with the couple, wedding coordinator, and DJ when preparing to film the dancing at the reception.
💡A way to light the dance floor and make it look incredible even when there's awful venue lighting.
💃My go-to technique to get more energetic dancing shots that show how much fun the wedding guests were having.
😮The exact way I shoot to make editing dancing footage super easy in post (it's ...

published: 06 Mar 2017

Lighting 101: Quality of Light

This is our first installment of our Lighting 101 series, where Lauren walks us through an important concept in film lighting: the quality of your light-- i.e. how hard or soft your light is.
In this video we cover the differences between hard and soft light, how the size and distance of your source affect the quality of your light, how to create hard and soft light using those concepts, and what diffusion actually does! Not only that, we'll tell you how to apply these concepts to your own lighting at home.
Have more questions? Ask Lauren directly in our forums!
http://j.mp/Lighting101Quality
For those interested, the lights used were:
HARDLIGHT:
800 Joleko with 50 degree barrel
SOFT LIGHT:
Two 4' 4Bank Kinos stacked on top of each other
DIFFUSION SECTION:
250 Diffusion Gel hand-hel...

Aircraft Carrier playlist: https://www.youtube.com/playlist?list=PLFA956A25F3C04DCF
US NavyTrainingFilm playlist: https://www.youtube.com/playlist?list=PLA40407C12E5E35A7
more at: http://scitech.quickfound.net/aviation_news_and_search.html
Detailed description of the Fresnel Lens Optical Landing System (FLOLS) used on US aircraft carriers.
US Navy Training Film MN-10442a
FLOLS Operation (MN-10442b): https://www.youtube.com/watch?v=vUFqnldTUI8
Originally a public domain film from the US Navy, slightly cropped to remove uneven edges, with the aspect ratio corrected, and one-pass brightness-contrast-color correction & mild video noise reduction applied.
The soundtrack was also processed with volume normalization, noise reduction, clipping reduction, and/or equalization (the resulting...

When it comes to filmmaking, lighting is a powerful tool that you need to understand when it comes to telling your story. Learn 6 ways to use light with Diffused, Bounce, and NegativeFill. These light modifiers are a huge help when shaping light. We will compare hard light vs. soft light. To create a soft light the light must be diffused. We will also show how to bounce light from a diffuser and a white board. And finally, we will take a look at the power of negative fill to create contrast.
MusicUsed in this Video:
http://bit.ly/2t7xrrP
Equipment Used in this Video:
KeyLight: http://amzn.to/2vXqsQg
5in1 with Diffuser: http://amzn.to/2vWMva1
Reflector Holder: tp://amzn.to/2x6bIz5
FloppyCutter: http://amzn.to/2vSD3Go
Additional Gear I use:
CAMERA
BlackMagic CinemaCamera: http://amz...

published: 21 Aug 2017

LED Fresnel Lights

More info here: http://tomantosfilms.com/5099/led-fresnel-lights/
Buy these lights and other CAME products on their eBay store: http://bit.ly/1mQvoit
And their website: http:www.came-tv.com/
In this video I review 2 LEDFresnel lights from a Chinese company CAME-TV. These are great lights because they are just as powerful as a 1000 watt tungsten halogen light yet they only use 200 watts of electricity PLUS they don't produce any heat.
Exclusive film tutorials: http://tomantosfilms.com/store/
Watch hours of free tutorials here: http://bit.ly/Tmd65z
_____________________________
Follow me on:
Twitter: http://twitter.com/TomAntos
Facebook http://www.facebook.com/TomAntosFilms
Google+ http://bit.ly/18oyRJB
My name's Tom Antos and I make videos. I am a film director and cinematographer ...

published: 25 Nov 2014

Convert Your Fresnel to LED with VisionSmith ReLamp: NAB 2016

At NAB 2016, we talked with Pete Smith at VisionSmith for an overview of their new ReLamp LED bulbs. With these, you can convert your old Arri or Mole-Richardson tungsten fresnel lights to LED at a fraction of the price of most of the current fresnel LED instruments on the market. Your fresnel still focuses just like with the halogen bulbs and the CRI for the daylight balanced bulb is 93, and for the tungsten balanced bulb is 98.
Special thanks to Scott Vanderbilt who was kind enough to bring his brand new SonyFS5 camera to film this series. He used this opportunity to learn his camera, so please understand that he did us a huge favor and also learned when auto focus would work or not work. :)
If you’d like to improve your sound recording skills for film, please have a look at our Sound...

published: 23 Apr 2016

Silent Movie Grace & Fresnel

Finally, this is the video we presented at Grace and Fresnel's wedding July 21st2012. Many people wanted to know how they met...so we decided to make a little video and exagerate certain aspects! BTW, great entertainment for the reception!

Review of Arri 650 Fresnel Chinese Clone

Arri makes the very well known line of fresnel hot lights used mainly in film and video broadcast, at least historically. These lights are super useful because...

Arri makes the very well known line of fresnel hot lights used mainly in film and video broadcast, at least historically. These lights are super useful because you can use them in so many ways. The only problem for those of us on a budget, of course, is the price. The 650 with barn doors will cost somewhere around $450 US.
In the last few years, we've seen a bunch of Chinese manufacturers produce clones of the Arri fresnel lights at much more aggressive prices. Most of them range between $100 and $200 US for the 650 watt models.
I recently bought a 650 watt:
http://amzn.to/1Eq72kK
And you can find the genuine Arri here:
http://www.bhphotovideo.com/c/product/72020-REG/Arri_531600_650_Watt_Plus_Tungsten.html/BI/19904/KBID/12941/kw/ARF650/DFF/d10-v2-t1-xARF650
(Note that is the light without barn doors which cost an additional ~$65 US)
In this review we look at whether the clone that costs about 1/4 the price is just as good, or at least good enough.
Music by Curtis Judd
This episode shot with the following:
- Nikon D600
- Nikkor 80-200mm f/1.8D Lens
- RODE NTG-2 ShotgunMicrophone
- Tascam DR-100 mk II Recorder
- LS Pro PhotoStudio TS 650 W fresnel light

Arri makes the very well known line of fresnel hot lights used mainly in film and video broadcast, at least historically. These lights are super useful because you can use them in so many ways. The only problem for those of us on a budget, of course, is the price. The 650 with barn doors will cost somewhere around $450 US.
In the last few years, we've seen a bunch of Chinese manufacturers produce clones of the Arri fresnel lights at much more aggressive prices. Most of them range between $100 and $200 US for the 650 watt models.
I recently bought a 650 watt:
http://amzn.to/1Eq72kK
And you can find the genuine Arri here:
http://www.bhphotovideo.com/c/product/72020-REG/Arri_531600_650_Watt_Plus_Tungsten.html/BI/19904/KBID/12941/kw/ARF650/DFF/d10-v2-t1-xARF650
(Note that is the light without barn doors which cost an additional ~$65 US)
In this review we look at whether the clone that costs about 1/4 the price is just as good, or at least good enough.
Music by Curtis Judd
This episode shot with the following:
- Nikon D600
- Nikkor 80-200mm f/1.8D Lens
- RODE NTG-2 ShotgunMicrophone
- Tascam DR-100 mk II Recorder
- LS Pro PhotoStudio TS 650 W fresnel light

Today I discuss the Dracast Fresnel2000DaylightLEDLight. We used it on set on our short and I really like it!
The Fresnel 2000 Daylight LED Light from Dracast is packed with the latest LED technology backed with solid construction, intuitive design and a wide 15-60 degree range of beam adjustment. The daylight balanced light has a Kelvin temperature or 5,600 for work outdoors or to match other light sources such as HMIs. Dimming from 0-100% is easily done locally on the unit or remotely via DMX.
The Fresnel 2000 outputs the equivalent of a 2,000W tungsten halogen Fresnel while running cool to the touch and consuming a fraction of the power, resulting in lower HVAC running costs in the studio and a quick return on your investment. The light ships with a 100-240 VAC power adapter for worldwide use and it also runs on 24 VDC in locations where mains power is unavailable. The Fresnel 2000 comes with a 5/8" receiver for hanging or stand mounting.
The performance of a large fresnel fixture comes together with the advantages of LED technology in the Dracast LED Fresnel Series. The Dracast Fresnel2000 houses an array of 48 high-powered, surface-mount LEDs firing behind an ultra-efficient fresnel lens. The LED array is carefully inspected to ensure outstanding color consistency while the fresnel lens ensures maximum output captured from each ultra-bright 5 watt LED.
All this adds up to a light fixture that delivers tremendous light output while using just 200 watts. Add to this a completely silent, passive, heat-sink cooling system, and the Dracast Fresnel series is an extremely versatile fixture, perfectly suited for any major studio or field application.

Today I discuss the Dracast Fresnel2000DaylightLEDLight. We used it on set on our short and I really like it!
The Fresnel 2000 Daylight LED Light from Dracast is packed with the latest LED technology backed with solid construction, intuitive design and a wide 15-60 degree range of beam adjustment. The daylight balanced light has a Kelvin temperature or 5,600 for work outdoors or to match other light sources such as HMIs. Dimming from 0-100% is easily done locally on the unit or remotely via DMX.
The Fresnel 2000 outputs the equivalent of a 2,000W tungsten halogen Fresnel while running cool to the touch and consuming a fraction of the power, resulting in lower HVAC running costs in the studio and a quick return on your investment. The light ships with a 100-240 VAC power adapter for worldwide use and it also runs on 24 VDC in locations where mains power is unavailable. The Fresnel 2000 comes with a 5/8" receiver for hanging or stand mounting.
The performance of a large fresnel fixture comes together with the advantages of LED technology in the Dracast LED Fresnel Series. The Dracast Fresnel2000 houses an array of 48 high-powered, surface-mount LEDs firing behind an ultra-efficient fresnel lens. The LED array is carefully inspected to ensure outstanding color consistency while the fresnel lens ensures maximum output captured from each ultra-bright 5 watt LED.
All this adds up to a light fixture that delivers tremendous light output while using just 200 watts. Add to this a completely silent, passive, heat-sink cooling system, and the Dracast Fresnel series is an extremely versatile fixture, perfectly suited for any major studio or field application.

CINEMATIC LIGHTING: Understanding Daylight vs Tungsten

We are getting more and more technical with our lighting goodness and today we are taking a close look at the differences between daylight and tungsten in terms...

We are getting more and more technical with our lighting goodness and today we are taking a close look at the differences between daylight and tungsten in terms of color balance for both lights and the white balance in your camera. With a clear understanding of these two main elements of lighting we can move on to manipulate color in lighting to achieve incredible epic cinematic images.
If you guys like or don't like this new type of filmmaking content let me know in the comments section below. Any feedback helps.
If you enjoyed this video on cinematic lighting, give it a thumbs up and share it with your friends!
Get this AWESOME TEMPLATE: https://goo.gl/2N1PMk
NeedAudioLogos & Idents?: https://goo.gl/SGqvA2
Get MUSIC PACKS for your projects HERE: https://goo.gl/cX7tdN
Huge thanks to the amazingly talented and beautiful model. Follow her on Instagram! ----- @nyc_yrj
Big thanks to Steven Grullon for all the help. Follow him on IG: @stevenoiz
Light Kit used: http://goo.gl/9WmW7c
▶MY INSTAGRAM: http://instagram.com/kriscoart
▶FOLLOW ME ON TWITTER: https://twitter.com/kriscoart
▶MY FACEBOOK: www.facebook.com/kriscoartproductions
MUSIC BY:
Y&V - Lune
Edited in Premiere CC
For business inquiries please contact me here:
kriscoartproductions@gmail.com
Thank you for watching
-Transcript-
Before jumping into colors and they can be used to support and further the story, in part one of this video, we'll explore some basic concepts that will be the foundation of what's to come.
So before talking about coloring your lights, let's take it a step back and talk about color correcting your lights. This topic can get pretty extensive and I will probably have a separate video for the various types of lights that require different types of correction, but for this video we will just focus on tungsten and daylight color temperature in a broader way.
The two might sound familiar to you even if you don't have much experience with lighting since they are often times white balance presets on your camera. The color temperature for your white balance on your camera and the color temperature of lights are very different things that serve the same purpose. Before we dive into what it means as far as lights and what it means as far as white balance let's take a look at the color temperature and how it reads in general.
Like I mentioned in the last video, tungsten is measured at 3200K and Kelvin is the unit of measurement for color temperature. This reads as a warm orangish look.
Then we have Daylight balance which is on the cooler blueish side of the color temperature spectrum.
In camera you are adjusting your white balance to read your scene properly (unless you are going for a particular type of effect). So if you are inside and have a bunch of lamps with incandescent light bulbs, which are usually tungsten balanced, then you would set your camera's white balance to tungsten. If your primary source of light is, lets say, coming from a window, then you would set your camera's white balance to Daylight since the color temperature coming in from the sunlight would measure roughly at around 5600K.
Beyond the camera, in your scene you can control what color temperature your lights are. You can do this simply by deciding whether or not your primary source is the sun or a desk lamp for example.
You can tie this in with what we talked about last week which is motivating your light with practical lights or by establishing a scene with a wide shot that lets the viewer understand where light is coming from.
You can then color correct individual lights to read at a certain color temperature to match the source of that light. So for example we can set our back light to daylight balance and keep our key and fill tungsten. This could work if in your scene there is a window behind our subject and a lamp in the room casting a warmer light.
This stuff might sound confusing at first especially when you are designing your lights in your scene but with time it becomes easier. Key points to remember for now are
TUNGSTEN - Warm/OrangeLook 3200K (Indoors)
DAYLIGHT - Cool/Blue Look 5600K (Outdoors)
So now that we understand this in theory, how do we actually do it?
The answer is gels.
For this video we are going to look at color correcting gels. These are slightly different than normal coloring gels since color correcting gels are used to convert the color balance of a light. The B in CTB stands for Blue. The O in CTO stands for Orange.
If you want to warm up a daylight balanced light you would add a CTO gel. If you want to convert a tungsten balance light to a cooler and more blue color then you would add a CTB gel.
There are also a number of gels that convert the numerous types of common fluorescent lights to mix better with tungsten or daylight sources but I will dedicate a full video that will go over every type of light and what gel to use to color correct those types of lights based on what you need.

We are getting more and more technical with our lighting goodness and today we are taking a close look at the differences between daylight and tungsten in terms of color balance for both lights and the white balance in your camera. With a clear understanding of these two main elements of lighting we can move on to manipulate color in lighting to achieve incredible epic cinematic images.
If you guys like or don't like this new type of filmmaking content let me know in the comments section below. Any feedback helps.
If you enjoyed this video on cinematic lighting, give it a thumbs up and share it with your friends!
Get this AWESOME TEMPLATE: https://goo.gl/2N1PMk
NeedAudioLogos & Idents?: https://goo.gl/SGqvA2
Get MUSIC PACKS for your projects HERE: https://goo.gl/cX7tdN
Huge thanks to the amazingly talented and beautiful model. Follow her on Instagram! ----- @nyc_yrj
Big thanks to Steven Grullon for all the help. Follow him on IG: @stevenoiz
Light Kit used: http://goo.gl/9WmW7c
▶MY INSTAGRAM: http://instagram.com/kriscoart
▶FOLLOW ME ON TWITTER: https://twitter.com/kriscoart
▶MY FACEBOOK: www.facebook.com/kriscoartproductions
MUSIC BY:
Y&V - Lune
Edited in Premiere CC
For business inquiries please contact me here:
kriscoartproductions@gmail.com
Thank you for watching
-Transcript-
Before jumping into colors and they can be used to support and further the story, in part one of this video, we'll explore some basic concepts that will be the foundation of what's to come.
So before talking about coloring your lights, let's take it a step back and talk about color correcting your lights. This topic can get pretty extensive and I will probably have a separate video for the various types of lights that require different types of correction, but for this video we will just focus on tungsten and daylight color temperature in a broader way.
The two might sound familiar to you even if you don't have much experience with lighting since they are often times white balance presets on your camera. The color temperature for your white balance on your camera and the color temperature of lights are very different things that serve the same purpose. Before we dive into what it means as far as lights and what it means as far as white balance let's take a look at the color temperature and how it reads in general.
Like I mentioned in the last video, tungsten is measured at 3200K and Kelvin is the unit of measurement for color temperature. This reads as a warm orangish look.
Then we have Daylight balance which is on the cooler blueish side of the color temperature spectrum.
In camera you are adjusting your white balance to read your scene properly (unless you are going for a particular type of effect). So if you are inside and have a bunch of lamps with incandescent light bulbs, which are usually tungsten balanced, then you would set your camera's white balance to tungsten. If your primary source of light is, lets say, coming from a window, then you would set your camera's white balance to Daylight since the color temperature coming in from the sunlight would measure roughly at around 5600K.
Beyond the camera, in your scene you can control what color temperature your lights are. You can do this simply by deciding whether or not your primary source is the sun or a desk lamp for example.
You can tie this in with what we talked about last week which is motivating your light with practical lights or by establishing a scene with a wide shot that lets the viewer understand where light is coming from.
You can then color correct individual lights to read at a certain color temperature to match the source of that light. So for example we can set our back light to daylight balance and keep our key and fill tungsten. This could work if in your scene there is a window behind our subject and a lamp in the room casting a warmer light.
This stuff might sound confusing at first especially when you are designing your lights in your scene but with time it becomes easier. Key points to remember for now are
TUNGSTEN - Warm/OrangeLook 3200K (Indoors)
DAYLIGHT - Cool/Blue Look 5600K (Outdoors)
So now that we understand this in theory, how do we actually do it?
The answer is gels.
For this video we are going to look at color correcting gels. These are slightly different than normal coloring gels since color correcting gels are used to convert the color balance of a light. The B in CTB stands for Blue. The O in CTO stands for Orange.
If you want to warm up a daylight balanced light you would add a CTO gel. If you want to convert a tungsten balance light to a cooler and more blue color then you would add a CTB gel.
There are also a number of gels that convert the numerous types of common fluorescent lights to mix better with tungsten or daylight sources but I will dedicate a full video that will go over every type of light and what gel to use to color correct those types of lights based on what you need.

How To Film Incredible Dancing Footage In Your Wedding Films!

My favorite wedding filmmaking gear: https://kit.com/whoismatt
Today, I have a new tutorial for you all about how I film dancing at a wedding reception. In it, ...

My favorite wedding filmmaking gear: https://kit.com/whoismatt
Today, I have a new tutorial for you all about how I film dancing at a wedding reception. In it, I cover four key tips that should help your improve your footage of people dancing during a wedding reception. The open dance floor doesn't have to be boring or intimidating! It can be a lot of fun, I promise.
In this video I cover:
😀How to interact with the couple, wedding coordinator, and DJ when preparing to film the dancing at the reception.
💡A way to light the dance floor and make it look incredible even when there's awful venue lighting.
💃My go-to technique to get more energetic dancing shots that show how much fun the wedding guests were having.
😮The exact way I shoot to make editing dancing footage super easy in post (it's almost editing itself!)
If any of that interests you, I would highly recommend checking out the video. :)
Get the lights, stands, and dimmer I talked about in the video at this link: https://kit.com/whoismatt/reception-lighting-gear-for-wedding-filmmakers#recommendation228324
Here are links to the lights and dimmer I talked about in the video:
- Arri 150WattLight: http://www.amazon.com/dp/B0067HQX24?tag=whoismatt_kit-20
- Arri Barn Doors: http://www.amazon.com/dp/B000B75RWS?tag=whoismatt_kit-20
- Light Dimmer: http://www.amazon.com/dp/B00YEGVC6W?tag=whoismatt_kit-20
- CheetahStand light Stand: http://www.amazon.com/dp/B0051CK5FM?tag=whoismatt_kit-20
- Lowel Pro-light: http://www.bhphotovideo.com/c/product/285941-REG/Lowel_P2_101_Pro_Light_Focus_Flood_Light.html/BI/7258/KBID/7778/KWID/KIT
- Lowel Pro-light Barn Doors: http://www.amazon.com/dp/B0000ALKJR?tag=whoismatt_kit-20
- Dedolight: http://www.bhphotovideo.com/c/product/298701-REG/Dedolight_DLHDIM4U_DLH4_150W_Spotlight_with.html/BI/7258/KBID/7778/KWID/KIT
- Dedolight Barn Doors: http://www.bhphotovideo.com/c/product/382390-REG/Dedolight_DBD8_8_Leaf_Barndoor_Set.html/BI/7258/KBID/7778/KWID/KIT
Check out the wedding films I used in this video:
👰Meant To BeTogether Since Grade School: https://www.youtube.com/watch?v=dUrvT8utN8o
👰Scotland Meets Texas: https://www.youtube.com/watch?v=xF7jKvIFphA
👰High SchoolSweethearts in the Hill Country: https://www.youtube.com/watch?v=lBjf09gJuzM
👰My breath of life, my other half, my Cinderella: https://www.youtube.com/watch?v=EGWJSsJ6SzA
As always, if you have any questions or comments, please feel free to leave one below or get in touch through my blog: http://whoismatt.com
🎥This vlog was filmed with the Sony A7sii, a really cool camera that you can check out on Amazon here: http://amzn.to/2mx5IwA.
📷You can check out the rest of the gear I use for filmmaking at my GearPage on my site at http://whoismatt.com/gear
🤓I am also now offering one-on-one personal filmmaker consulting! Wanna talk about cameras, lighting, or booking clients? Let's do it! http://whoismatt.com/consulting
If you want to keep up with my photos, videos, and other behind-the-scenes stuff, follow me on Instagram at http://www.instagram.com/whoismatt
I also post a ton of video related things to my Facebook Page at http://www.facebook.com/whoismattcom
Music licensing sites I recommend:
🎧 SoundStripe - http://bit.ly/sound_stripe (use the coupon code "WHOISMATT" for 10% off a yearly or monthly subscription!)
🎷 ART LIST - http://bit.ly/artlist_music_licensing
🎤 Filmstro - http://bit.ly/filmstro (use the coupon code "WHOISMATT20_ANN" for 20% off all yearly licenses)
SENDSTUFF TO:
Matt JohnsonPO Box #451602
Garland, TX 75045
USA

My favorite wedding filmmaking gear: https://kit.com/whoismatt
Today, I have a new tutorial for you all about how I film dancing at a wedding reception. In it, I cover four key tips that should help your improve your footage of people dancing during a wedding reception. The open dance floor doesn't have to be boring or intimidating! It can be a lot of fun, I promise.
In this video I cover:
😀How to interact with the couple, wedding coordinator, and DJ when preparing to film the dancing at the reception.
💡A way to light the dance floor and make it look incredible even when there's awful venue lighting.
💃My go-to technique to get more energetic dancing shots that show how much fun the wedding guests were having.
😮The exact way I shoot to make editing dancing footage super easy in post (it's almost editing itself!)
If any of that interests you, I would highly recommend checking out the video. :)
Get the lights, stands, and dimmer I talked about in the video at this link: https://kit.com/whoismatt/reception-lighting-gear-for-wedding-filmmakers#recommendation228324
Here are links to the lights and dimmer I talked about in the video:
- Arri 150WattLight: http://www.amazon.com/dp/B0067HQX24?tag=whoismatt_kit-20
- Arri Barn Doors: http://www.amazon.com/dp/B000B75RWS?tag=whoismatt_kit-20
- Light Dimmer: http://www.amazon.com/dp/B00YEGVC6W?tag=whoismatt_kit-20
- CheetahStand light Stand: http://www.amazon.com/dp/B0051CK5FM?tag=whoismatt_kit-20
- Lowel Pro-light: http://www.bhphotovideo.com/c/product/285941-REG/Lowel_P2_101_Pro_Light_Focus_Flood_Light.html/BI/7258/KBID/7778/KWID/KIT
- Lowel Pro-light Barn Doors: http://www.amazon.com/dp/B0000ALKJR?tag=whoismatt_kit-20
- Dedolight: http://www.bhphotovideo.com/c/product/298701-REG/Dedolight_DLHDIM4U_DLH4_150W_Spotlight_with.html/BI/7258/KBID/7778/KWID/KIT
- Dedolight Barn Doors: http://www.bhphotovideo.com/c/product/382390-REG/Dedolight_DBD8_8_Leaf_Barndoor_Set.html/BI/7258/KBID/7778/KWID/KIT
Check out the wedding films I used in this video:
👰Meant To BeTogether Since Grade School: https://www.youtube.com/watch?v=dUrvT8utN8o
👰Scotland Meets Texas: https://www.youtube.com/watch?v=xF7jKvIFphA
👰High SchoolSweethearts in the Hill Country: https://www.youtube.com/watch?v=lBjf09gJuzM
👰My breath of life, my other half, my Cinderella: https://www.youtube.com/watch?v=EGWJSsJ6SzA
As always, if you have any questions or comments, please feel free to leave one below or get in touch through my blog: http://whoismatt.com
🎥This vlog was filmed with the Sony A7sii, a really cool camera that you can check out on Amazon here: http://amzn.to/2mx5IwA.
📷You can check out the rest of the gear I use for filmmaking at my GearPage on my site at http://whoismatt.com/gear
🤓I am also now offering one-on-one personal filmmaker consulting! Wanna talk about cameras, lighting, or booking clients? Let's do it! http://whoismatt.com/consulting
If you want to keep up with my photos, videos, and other behind-the-scenes stuff, follow me on Instagram at http://www.instagram.com/whoismatt
I also post a ton of video related things to my Facebook Page at http://www.facebook.com/whoismattcom
Music licensing sites I recommend:
🎧 SoundStripe - http://bit.ly/sound_stripe (use the coupon code "WHOISMATT" for 10% off a yearly or monthly subscription!)
🎷 ART LIST - http://bit.ly/artlist_music_licensing
🎤 Filmstro - http://bit.ly/filmstro (use the coupon code "WHOISMATT20_ANN" for 20% off all yearly licenses)
SENDSTUFF TO:
Matt JohnsonPO Box #451602
Garland, TX 75045
USA

Lighting 101: Quality of Light

This is our first installment of our Lighting 101 series, where Lauren walks us through an important concept in film lighting: the quality of your light-- i.e. ...

This is our first installment of our Lighting 101 series, where Lauren walks us through an important concept in film lighting: the quality of your light-- i.e. how hard or soft your light is.
In this video we cover the differences between hard and soft light, how the size and distance of your source affect the quality of your light, how to create hard and soft light using those concepts, and what diffusion actually does! Not only that, we'll tell you how to apply these concepts to your own lighting at home.
Have more questions? Ask Lauren directly in our forums!
http://j.mp/Lighting101Quality
For those interested, the lights used were:
HARDLIGHT:
800 Joleko with 50 degree barrel
SOFT LIGHT:
Two 4' 4Bank Kinos stacked on top of each other
DIFFUSION SECTION:
250 Diffusion Gel hand-held in front of the Joleko
Astra 1x1 Bicolor Litepanel, softbox added
Sola 6 Litepanel DaylightFresnel, bounced into large styrofoam bounce card
Inca 12 Litepanel Tungsten Fresnel, shot throught 8x8' silk on frame
- - -
Questions about our sponsors and how they work? A video on that soon, but we have an open policy and can answer your questions directly on our forums: http://discuss.rocketjump.com
- - -
Thanks for watching! More videos at http://school.rocketjump.com!
We are live on YouTube every Thursday at 4PM PST!
You can also follow us on Facebook & Twitter:
http://www.facebook.com/RJFilmSchool
https://twitter.com/rjfilmschool

This is our first installment of our Lighting 101 series, where Lauren walks us through an important concept in film lighting: the quality of your light-- i.e. how hard or soft your light is.
In this video we cover the differences between hard and soft light, how the size and distance of your source affect the quality of your light, how to create hard and soft light using those concepts, and what diffusion actually does! Not only that, we'll tell you how to apply these concepts to your own lighting at home.
Have more questions? Ask Lauren directly in our forums!
http://j.mp/Lighting101Quality
For those interested, the lights used were:
HARDLIGHT:
800 Joleko with 50 degree barrel
SOFT LIGHT:
Two 4' 4Bank Kinos stacked on top of each other
DIFFUSION SECTION:
250 Diffusion Gel hand-held in front of the Joleko
Astra 1x1 Bicolor Litepanel, softbox added
Sola 6 Litepanel DaylightFresnel, bounced into large styrofoam bounce card
Inca 12 Litepanel Tungsten Fresnel, shot throught 8x8' silk on frame
- - -
Questions about our sponsors and how they work? A video on that soon, but we have an open policy and can answer your questions directly on our forums: http://discuss.rocketjump.com
- - -
Thanks for watching! More videos at http://school.rocketjump.com!
We are live on YouTube every Thursday at 4PM PST!
You can also follow us on Facebook & Twitter:
http://www.facebook.com/RJFilmSchool
https://twitter.com/rjfilmschool

Aircraft Carrier playlist: https://www.youtube.com/playlist?list=PLFA956A25F3C04DCF
US NavyTrainingFilm playlist: https://www.youtube.com/playlist?list=PLA40407C12E5E35A7
more at: http://scitech.quickfound.net/aviation_news_and_search.html
Detailed description of the Fresnel Lens Optical Landing System (FLOLS) used on US aircraft carriers.
US Navy Training Film MN-10442a
FLOLS Operation (MN-10442b): https://www.youtube.com/watch?v=vUFqnldTUI8
Originally a public domain film from the US Navy, slightly cropped to remove uneven edges, with the aspect ratio corrected, and one-pass brightness-contrast-color correction & mild video noise reduction applied.
The soundtrack was also processed with volume normalization, noise reduction, clipping reduction, and/or equalization (the resulting sound, though not perfect, is far less noisy than the original).
https://en.wikipedia.org/wiki/Optical_landing_system
Wikipedia license: http://creativecommons.org/licenses/by-sa/3.0/
An optical landing system (OLS) (nicknamed "meatball" or simply, "Ball") is used to give glidepath information to pilots in the terminal phase of landing on an aircraft carrier. From the beginning of aircraft landing on ships in the 1920s to the introduction of OLSs, pilots relied solely on their visual perception of the landing area and the aid of the Landing Signal Officer (LSO in the U.S. Navy, or "batsman" in the Commonwealth navies). LSOs used colored flags, cloth paddles and lighted wands. The OLS was developed after World War II and was deployed on U.S. Navy carriers from 1955. In its developed form, the OLS consists of a horizontal row of green lights, used as a reference, and a column of vertical lights. The vertical lights signal whether the aircraft is too high, too low, or at the correct altitude as the pilot descends the glide slope towards the carrier's deck. Other lights give various commands and can be used to require the pilot to abort the landing and "go around." The OLS remains under control of the LSO, who can also communicate with the pilot via radio...
At least three sets of lights are used, regardless of the actual technology:
- Datum lights – a horizontal row of green lamps used to give the pilot a reference against which he may judge his position relative to the glide slope.
- Ball (or "meatball"; also known as "the source") – indicates the relative position of the aircraft with reference to glide slope. If the aircraft is high, the ball will be above the datum lights; if the aircraft is low, the ball will be similarly below the datum lights. The further the aircraft is from the glide slope, the further the ball will be above or below the datum lights. If the aircraft gets dangerously low, the ball appears red. If the aircraft gets too high, the ball appears to go off the top.
- Wave-off lights – red flashing lamps which, when lit, indicate that the pilot must add full power and go around – a mandatory command. When the wave-off lights are lit, all other lamps are extinguished. The wave-off lights are operated manually by the LSO.
Additionally, some (particularly later) optical landing systems include additional lamps:
- Cut lights – Green lamps used to signal different things based on where the approaching aircraft is in its approach. Early in a no-radio or "zip-lip" approach (which is routine in modern carrier operations), Cut Lights are flashed for approximately 2–3 seconds to indicate that the aircraft is cleared to continue the approach. Subsequent flashes of the Cut Lights are used to prompt the pilot to add power. The longer the lights are left on, the more power should be added. Cut Lights are operated manually by the LSO...
The first OLS was the mirror landing aid, one of several British inventions...
Fresnel lens optical landing system (FLOLS)
Later systems kept the same basic function of the mirror landing aid, but upgraded components and functionality. The concave mirror, source light combination was replaced with a series of fresnel lenses. The Mk 6 Mod 3 FLOLS was tested in 1970 and had not changed much, except for when ship’s heave was taken into account with an Inertial Stabilization system. These systems are still in wide use on runways at US Naval Air Stations.
Improved fresnel lens optical landing system (IFLOLS)
The IFLOLS, designed by engineers at NAECLakehurst, NJ, keeps the same basic design but improves on the FLOLS, giving a more precise indication of aircraft position on the glideslope. A prototype IFLOLS was tested on board USS George Washington (CVN-73) in 1997 and every deploying aircraft carrier since 2004 has had the system. The Improved Fresnel Lens Optical Landing System, IFLOLS, uses a fiber optic "source" light, projected through lenses to present a sharper, crisper light. This has enabled pilots to begin to fly "the ball" further away from the ship making the transition from instrument flight to visual flight smoother...

Aircraft Carrier playlist: https://www.youtube.com/playlist?list=PLFA956A25F3C04DCF
US NavyTrainingFilm playlist: https://www.youtube.com/playlist?list=PLA40407C12E5E35A7
more at: http://scitech.quickfound.net/aviation_news_and_search.html
Detailed description of the Fresnel Lens Optical Landing System (FLOLS) used on US aircraft carriers.
US Navy Training Film MN-10442a
FLOLS Operation (MN-10442b): https://www.youtube.com/watch?v=vUFqnldTUI8
Originally a public domain film from the US Navy, slightly cropped to remove uneven edges, with the aspect ratio corrected, and one-pass brightness-contrast-color correction & mild video noise reduction applied.
The soundtrack was also processed with volume normalization, noise reduction, clipping reduction, and/or equalization (the resulting sound, though not perfect, is far less noisy than the original).
https://en.wikipedia.org/wiki/Optical_landing_system
Wikipedia license: http://creativecommons.org/licenses/by-sa/3.0/
An optical landing system (OLS) (nicknamed "meatball" or simply, "Ball") is used to give glidepath information to pilots in the terminal phase of landing on an aircraft carrier. From the beginning of aircraft landing on ships in the 1920s to the introduction of OLSs, pilots relied solely on their visual perception of the landing area and the aid of the Landing Signal Officer (LSO in the U.S. Navy, or "batsman" in the Commonwealth navies). LSOs used colored flags, cloth paddles and lighted wands. The OLS was developed after World War II and was deployed on U.S. Navy carriers from 1955. In its developed form, the OLS consists of a horizontal row of green lights, used as a reference, and a column of vertical lights. The vertical lights signal whether the aircraft is too high, too low, or at the correct altitude as the pilot descends the glide slope towards the carrier's deck. Other lights give various commands and can be used to require the pilot to abort the landing and "go around." The OLS remains under control of the LSO, who can also communicate with the pilot via radio...
At least three sets of lights are used, regardless of the actual technology:
- Datum lights – a horizontal row of green lamps used to give the pilot a reference against which he may judge his position relative to the glide slope.
- Ball (or "meatball"; also known as "the source") – indicates the relative position of the aircraft with reference to glide slope. If the aircraft is high, the ball will be above the datum lights; if the aircraft is low, the ball will be similarly below the datum lights. The further the aircraft is from the glide slope, the further the ball will be above or below the datum lights. If the aircraft gets dangerously low, the ball appears red. If the aircraft gets too high, the ball appears to go off the top.
- Wave-off lights – red flashing lamps which, when lit, indicate that the pilot must add full power and go around – a mandatory command. When the wave-off lights are lit, all other lamps are extinguished. The wave-off lights are operated manually by the LSO.
Additionally, some (particularly later) optical landing systems include additional lamps:
- Cut lights – Green lamps used to signal different things based on where the approaching aircraft is in its approach. Early in a no-radio or "zip-lip" approach (which is routine in modern carrier operations), Cut Lights are flashed for approximately 2–3 seconds to indicate that the aircraft is cleared to continue the approach. Subsequent flashes of the Cut Lights are used to prompt the pilot to add power. The longer the lights are left on, the more power should be added. Cut Lights are operated manually by the LSO...
The first OLS was the mirror landing aid, one of several British inventions...
Fresnel lens optical landing system (FLOLS)
Later systems kept the same basic function of the mirror landing aid, but upgraded components and functionality. The concave mirror, source light combination was replaced with a series of fresnel lenses. The Mk 6 Mod 3 FLOLS was tested in 1970 and had not changed much, except for when ship’s heave was taken into account with an Inertial Stabilization system. These systems are still in wide use on runways at US Naval Air Stations.
Improved fresnel lens optical landing system (IFLOLS)
The IFLOLS, designed by engineers at NAECLakehurst, NJ, keeps the same basic design but improves on the FLOLS, giving a more precise indication of aircraft position on the glideslope. A prototype IFLOLS was tested on board USS George Washington (CVN-73) in 1997 and every deploying aircraft carrier since 2004 has had the system. The Improved Fresnel Lens Optical Landing System, IFLOLS, uses a fiber optic "source" light, projected through lenses to present a sharper, crisper light. This has enabled pilots to begin to fly "the ball" further away from the ship making the transition from instrument flight to visual flight smoother...

When it comes to filmmaking, lighting is a powerful tool that you need to understand when it comes to telling your story. Learn 6 ways to use light with Diffuse...

When it comes to filmmaking, lighting is a powerful tool that you need to understand when it comes to telling your story. Learn 6 ways to use light with Diffused, Bounce, and NegativeFill. These light modifiers are a huge help when shaping light. We will compare hard light vs. soft light. To create a soft light the light must be diffused. We will also show how to bounce light from a diffuser and a white board. And finally, we will take a look at the power of negative fill to create contrast.
MusicUsed in this Video:
http://bit.ly/2t7xrrP
Equipment Used in this Video:
KeyLight: http://amzn.to/2vXqsQg
5in1 with Diffuser: http://amzn.to/2vWMva1
Reflector Holder: tp://amzn.to/2x6bIz5
FloppyCutter: http://amzn.to/2vSD3Go
Additional Gear I use:
CAMERA
BlackMagic CinemaCamera: http://amzn.to/2pwEEzq
LENSES
Canon L 16-35mm: http://amzn.to/2p1wJZF
Rokinon 50mm: http://amzn.to/2q3msNW
Rokinon 85mm: http://amzn.to/2oJ8UTL
LIGHTING
Key Light: http://amzn.to/2tbkw7X
Diffusion for Key Light: http://amzn.to/2sbU894
Fresnel for Key Light: http://amzn.to/2sbZOja
Back & Ambient Light: http://amzn.to/2otKXE3
GELS
ColorCorrection: http://amzn.to/2taVhCc
Color Effects: http://amzn.to/2taJjbD
Music from PremiumBeat.com
https://www.premiumbeat.com/
LIGHT STANDS & GRIP
C-Stand: http://amzn.to/2rjyC6D
Light Stand: http://amzn.to/2rb3an7
Social Media:
Drop a like on Facebook: https://www.facebook.com/sonduckfilm
Hit me up on Instagram: http://instagram.com/sonduckfilm
Follow me on Twitter: https://twitter.com/SonduckFilm
Connect with me on Linkedin: https://www.linkedin.com/in/joshnoel
Visit our website https://www.sonduckfilm.com for more tutorials, giveaways and film and photo gear!

When it comes to filmmaking, lighting is a powerful tool that you need to understand when it comes to telling your story. Learn 6 ways to use light with Diffused, Bounce, and NegativeFill. These light modifiers are a huge help when shaping light. We will compare hard light vs. soft light. To create a soft light the light must be diffused. We will also show how to bounce light from a diffuser and a white board. And finally, we will take a look at the power of negative fill to create contrast.
MusicUsed in this Video:
http://bit.ly/2t7xrrP
Equipment Used in this Video:
KeyLight: http://amzn.to/2vXqsQg
5in1 with Diffuser: http://amzn.to/2vWMva1
Reflector Holder: tp://amzn.to/2x6bIz5
FloppyCutter: http://amzn.to/2vSD3Go
Additional Gear I use:
CAMERA
BlackMagic CinemaCamera: http://amzn.to/2pwEEzq
LENSES
Canon L 16-35mm: http://amzn.to/2p1wJZF
Rokinon 50mm: http://amzn.to/2q3msNW
Rokinon 85mm: http://amzn.to/2oJ8UTL
LIGHTING
Key Light: http://amzn.to/2tbkw7X
Diffusion for Key Light: http://amzn.to/2sbU894
Fresnel for Key Light: http://amzn.to/2sbZOja
Back & Ambient Light: http://amzn.to/2otKXE3
GELS
ColorCorrection: http://amzn.to/2taVhCc
Color Effects: http://amzn.to/2taJjbD
Music from PremiumBeat.com
https://www.premiumbeat.com/
LIGHT STANDS & GRIP
C-Stand: http://amzn.to/2rjyC6D
Light Stand: http://amzn.to/2rb3an7
Social Media:
Drop a like on Facebook: https://www.facebook.com/sonduckfilm
Hit me up on Instagram: http://instagram.com/sonduckfilm
Follow me on Twitter: https://twitter.com/SonduckFilm
Connect with me on Linkedin: https://www.linkedin.com/in/joshnoel
Visit our website https://www.sonduckfilm.com for more tutorials, giveaways and film and photo gear!

LED Fresnel Lights

More info here: http://tomantosfilms.com/5099/led-fresnel-lights/
Buy these lights and other CAME products on their eBay store: http://bit.ly/1mQvoit
And their ...

More info here: http://tomantosfilms.com/5099/led-fresnel-lights/
Buy these lights and other CAME products on their eBay store: http://bit.ly/1mQvoit
And their website: http:www.came-tv.com/
In this video I review 2 LEDFresnel lights from a Chinese company CAME-TV. These are great lights because they are just as powerful as a 1000 watt tungsten halogen light yet they only use 200 watts of electricity PLUS they don't produce any heat.
Exclusive film tutorials: http://tomantosfilms.com/store/
Watch hours of free tutorials here: http://bit.ly/Tmd65z
_____________________________
Follow me on:
Twitter: http://twitter.com/TomAntos
Facebook http://www.facebook.com/TomAntosFilms
Google+ http://bit.ly/18oyRJB
My name's Tom Antos and I make videos. I am a film director and cinematographer with over 12 years experience in VFX & animation. Jak sie masz?! I'm originally from Poland ;) Check out my channel here: http://www.youtube.com/user/polcan99

More info here: http://tomantosfilms.com/5099/led-fresnel-lights/
Buy these lights and other CAME products on their eBay store: http://bit.ly/1mQvoit
And their website: http:www.came-tv.com/
In this video I review 2 LEDFresnel lights from a Chinese company CAME-TV. These are great lights because they are just as powerful as a 1000 watt tungsten halogen light yet they only use 200 watts of electricity PLUS they don't produce any heat.
Exclusive film tutorials: http://tomantosfilms.com/store/
Watch hours of free tutorials here: http://bit.ly/Tmd65z
_____________________________
Follow me on:
Twitter: http://twitter.com/TomAntos
Facebook http://www.facebook.com/TomAntosFilms
Google+ http://bit.ly/18oyRJB
My name's Tom Antos and I make videos. I am a film director and cinematographer with over 12 years experience in VFX & animation. Jak sie masz?! I'm originally from Poland ;) Check out my channel here: http://www.youtube.com/user/polcan99

Convert Your Fresnel to LED with VisionSmith ReLamp: NAB 2016

At NAB 2016, we talked with Pete Smith at VisionSmith for an overview of their new ReLamp LED bulbs. With these, you can convert your old Arri or Mole-Richardso...

At NAB 2016, we talked with Pete Smith at VisionSmith for an overview of their new ReLamp LED bulbs. With these, you can convert your old Arri or Mole-Richardson tungsten fresnel lights to LED at a fraction of the price of most of the current fresnel LED instruments on the market. Your fresnel still focuses just like with the halogen bulbs and the CRI for the daylight balanced bulb is 93, and for the tungsten balanced bulb is 98.
Special thanks to Scott Vanderbilt who was kind enough to bring his brand new SonyFS5 camera to film this series. He used this opportunity to learn his camera, so please understand that he did us a huge favor and also learned when auto focus would work or not work. :)
If you’d like to improve your sound recording skills for film, please have a look at our Sound Recording for Video course over at http://school.learnlightandsound.com
Visit us at http://learnlightandsound.com for more updates on how to improve your lighting and sound for video. Also be sure to subscribe to get new weekly episodes!
Gear mentioned in or used to record this episode:
—————————————————————————————
VisionSmith ReLamp LED Bulb for Arri and Mole-Richardson FresnelLights
Coming soon to Adorama and Barbizon
http://visionsmith.com
—————————————————————————————
Sennheiser MD 46Dynamic Cardioid Microphone (great handheld mic for show floor interviews)
Amazon: http://amzn.to/1T4CaLN
B&H Photo/Video: http://www.bhphotovideo.com/c/product/223940-REG/Sennheiser_MD46_MD46_Dynamic_ENG.html/BI/19904/KBID/12941/kw/SEMD46/DFF/d10-v2-t1-xSEMD46
—————————————————————————————
Sony FS5 Camera (Yes, the focus was hunting - lesson learned that the face detect auto focus does not work well when faces turn to the side)
B&H Photo/Video: http://www.bhphotovideo.com/c/product/1185424-REG/sony_pxw_fs5_xdcam_super_35.html/BI/19904/KBID/12941/kw/SOPXWFS5/DFF/d10-v2-t1-xSOPXWFS5
—————————————————————————————
Copyright 2016 by Curtis Judd
Ethics statement: Some of the links above are affiliate links which means that if you click on them and buy, I get a small commission. You don't pay more by clicking these links than if you just went to the retailer’s web site on your own. I use the proceeds to buy additional gear to review and help you improve your sound, lighting, and video. Thanks for your support!

At NAB 2016, we talked with Pete Smith at VisionSmith for an overview of their new ReLamp LED bulbs. With these, you can convert your old Arri or Mole-Richardson tungsten fresnel lights to LED at a fraction of the price of most of the current fresnel LED instruments on the market. Your fresnel still focuses just like with the halogen bulbs and the CRI for the daylight balanced bulb is 93, and for the tungsten balanced bulb is 98.
Special thanks to Scott Vanderbilt who was kind enough to bring his brand new SonyFS5 camera to film this series. He used this opportunity to learn his camera, so please understand that he did us a huge favor and also learned when auto focus would work or not work. :)
If you’d like to improve your sound recording skills for film, please have a look at our Sound Recording for Video course over at http://school.learnlightandsound.com
Visit us at http://learnlightandsound.com for more updates on how to improve your lighting and sound for video. Also be sure to subscribe to get new weekly episodes!
Gear mentioned in or used to record this episode:
—————————————————————————————
VisionSmith ReLamp LED Bulb for Arri and Mole-Richardson FresnelLights
Coming soon to Adorama and Barbizon
http://visionsmith.com
—————————————————————————————
Sennheiser MD 46Dynamic Cardioid Microphone (great handheld mic for show floor interviews)
Amazon: http://amzn.to/1T4CaLN
B&H Photo/Video: http://www.bhphotovideo.com/c/product/223940-REG/Sennheiser_MD46_MD46_Dynamic_ENG.html/BI/19904/KBID/12941/kw/SEMD46/DFF/d10-v2-t1-xSEMD46
—————————————————————————————
Sony FS5 Camera (Yes, the focus was hunting - lesson learned that the face detect auto focus does not work well when faces turn to the side)
B&H Photo/Video: http://www.bhphotovideo.com/c/product/1185424-REG/sony_pxw_fs5_xdcam_super_35.html/BI/19904/KBID/12941/kw/SOPXWFS5/DFF/d10-v2-t1-xSOPXWFS5
—————————————————————————————
Copyright 2016 by Curtis Judd
Ethics statement: Some of the links above are affiliate links which means that if you click on them and buy, I get a small commission. You don't pay more by clicking these links than if you just went to the retailer’s web site on your own. I use the proceeds to buy additional gear to review and help you improve your sound, lighting, and video. Thanks for your support!

Silent Movie Grace & Fresnel

Finally, this is the video we presented at Grace and Fresnel's wedding July 21st2012. Many people wanted to know how they met...so we decided to make a little...

Finally, this is the video we presented at Grace and Fresnel's wedding July 21st2012. Many people wanted to know how they met...so we decided to make a little video and exagerate certain aspects! BTW, great entertainment for the reception!

Finally, this is the video we presented at Grace and Fresnel's wedding July 21st2012. Many people wanted to know how they met...so we decided to make a little video and exagerate certain aspects! BTW, great entertainment for the reception!

Different types of lighting fixtures and why we need them in Cinematography

Support wolfcrow on Patreon for exclusive rewards: http://patreon.com/wolfcrow
Interview Lighting Guide: http://videoproduction.training/interviewlightingguideinteriors.html
Yongnuo YN-900 LightReview: https://www.youtube.com/watch?v=44NjE_5ED94
There are so many different kinds of lighting fixtures, but when do we pick which, and why?
Head over to wolfcrow.com for the best workflows and reviews for filmmakers, cinematographers and videographers. Follow us on social media:
Facebook: http://www.facebook.com/wolfcrowsocial
Twitter: http://www.twitter.com/wolfkrow
Instagram: https://www.instagram.com/wolfcrowsocial/
And don't forget to subscribe to this channel!

LED Fresnel Lights

More info here: http://tomantosfilms.com/5099/led-fresnel-lights/
Buy these lights and other CAME products on their eBay store: http://bit.ly/1mQvoit
And their website: http:www.came-tv.com/
In this video I review 2 LEDFresnel lights from a Chinese company CAME-TV. These are great lights because they are just as powerful as a 1000 watt tungsten halogen light yet they only use 200 watts of electricity PLUS they don't produce any heat.
Exclusive film tutorials: http://tomantosfilms.com/store/
Watch hours of free tutorials here: http://bit.ly/Tmd65z
_____________________________
Follow me on:
Twitter: http://twitter.com/TomAntos
Facebook http://www.facebook.com/TomAntosFilms
Google+ http://bit.ly/18oyRJB
My name's Tom Antos and I make videos. I am a film director and cinematographer ...

In this tutorial I cover making Iridescence/thin film effects on materials. This is useful when trying to make soap bubbles, bug shells and exotic car paints. I cover using the Maya Samplerinfo and rsFresnel utility nodes to create this effect. Feel free to comment or ask questions below.
Subscribe to my Channel to follow new tutorials and feel free to follow my work and social media in the links below.
Follow me:
artofsaul.com
facebook.com/TheArtofSaul/
linkedin.com/in/saul-espinosa-243008b
Twitter: @theartofsaul

Billions in Change - Official Film

How editing can make you a better cinematographer

As filmmakers we benefit when working in all departments regardless of what your official job title is. That is because in the end all the departments have to come together to make one film.
⬇️More INFO below⬇️
My filmmaking gear kit ➡ https://kit.com/TomAntos
In-depth info on the gear I recommend ➡ https://goo.gl/ZrPxTM
My camera gear picks on B&H ➡ https://goo.gl/fSWk1X
Exclusive tutorials ➡ https://tomantosfilms.com/store/
Music I use is from Artlist https://goo.gl/aMBHKU Sign up to get 2 months free!
My wife's YouTube channel: https://www.youtube.com/user/KrisiaVaca
My site ➡ https://tomantosfilms.com/
⬇️Submit your video to Filmmaking Times Live⬇️ http://tomantosfilms.com/filmmaking-times-live-submit/
-----------------------------------------------------------------------------
H...

published: 04 Mar 2018

Aputure 300D [The incredible strong filmmaking LED lamp]

We are back with a new filmmaking video about the incredible strong LED lamp Aputure COB 300D!
Support us by becoming a Patron: http://www.patreon.com/andyax
The Aputure COB 300D will give you as much light as 142000 lux at 0.5 meters with a Fresnel mount, which makes it approximately equivalent to a 2000 watts tungsten lamp or a 400 watts HMI (those lamps are way more expensive, are warmer, heavier and bigger). In addition to being a strong daylight lamp with around 5500Kelvin, it has a high CRI and TLCI value. This means that the lamp produces natural colors. Many cheap led lamps tend to make a greenish artificial light which makes it hard to color-correct natural skin tones in post.
The Aputure 300D is built with aluminum and weighs 2.1 kilos. The lamp has the widely used Bowens mo...

Award winning WEDDING FILMS! Career advice & filmmaking techniques

In this episode of Filmmaking Times we talk to Henry Martens about his amazing work producing wedding films. Henry shares detailed tips on filmmaking techniques, as well as business advice.
More info here https://wp.me/p8IV72-4mT
Henry’s videos are so good, that they easily merit being called films. As Henry mentions in the video, all of his clients have a story to tell, and conveying that story is Henry’s main task.
Our one hour chat with Henry is filled with invaluable advice on filmmaking, and the business side of wedding videography. So, I hope you take advantage of this. There is a lot of competition in this business, and you’ll rarely find someone like Henry, who is so willing to share and help others.
-------------------------------
Regarding our contest:
Here is the gimbal y...

Infantry Weapons and Their Effects 1943 US Army; World War II Weaponry

NEWVERSION with improved sound: https://www.youtube.com/watch?v=LQnvksRdHFg
US ArmyTrainingFilm playlist: https://www.youtube.com/playlist?list=PL0C7C6CCF1C0DEBB3
more at http://quickfound.net/links/military_news_and_links.html
"This training film shows virtually all the weapons and ammunition used by the US Army in WWII and how they are being used most efficiently."
US Army Training Film TF7-1266
completely different 1953 film with same title:
https://www.youtube.com/watch?v=nfjX847FBlU
Public domain film from the US National Archives, slightly cropped to remove uneven edges, with the aspect ratio corrected, and one-pass brightness-contrast-color correction & mild video noise reduction applied.
The soundtrack was also processed with volume normalization, noise reduction, clippin...

Support wolfcrow on Patreon for exclusive rewards: http://patreon.com/wolfcrow
Interview Lighting Guide: http://videoproduction.training/interviewlightingguideinteriors.html
Yongnuo YN-900 LightReview: https://www.youtube.com/watch?v=44NjE_5ED94
There are so many different kinds of lighting fixtures, but when do we pick which, and why?
Head over to wolfcrow.com for the best workflows and reviews for filmmakers, cinematographers and videographers. Follow us on social media:
Facebook: http://www.facebook.com/wolfcrowsocial
Twitter: http://www.twitter.com/wolfkrow
Instagram: https://www.instagram.com/wolfcrowsocial/
And don't forget to subscribe to this channel!

Support wolfcrow on Patreon for exclusive rewards: http://patreon.com/wolfcrow
Interview Lighting Guide: http://videoproduction.training/interviewlightingguideinteriors.html
Yongnuo YN-900 LightReview: https://www.youtube.com/watch?v=44NjE_5ED94
There are so many different kinds of lighting fixtures, but when do we pick which, and why?
Head over to wolfcrow.com for the best workflows and reviews for filmmakers, cinematographers and videographers. Follow us on social media:
Facebook: http://www.facebook.com/wolfcrowsocial
Twitter: http://www.twitter.com/wolfkrow
Instagram: https://www.instagram.com/wolfcrowsocial/
And don't forget to subscribe to this channel!

LED Fresnel Lights

More info here: http://tomantosfilms.com/5099/led-fresnel-lights/
Buy these lights and other CAME products on their eBay store: http://bit.ly/1mQvoit
And their ...

More info here: http://tomantosfilms.com/5099/led-fresnel-lights/
Buy these lights and other CAME products on their eBay store: http://bit.ly/1mQvoit
And their website: http:www.came-tv.com/
In this video I review 2 LEDFresnel lights from a Chinese company CAME-TV. These are great lights because they are just as powerful as a 1000 watt tungsten halogen light yet they only use 200 watts of electricity PLUS they don't produce any heat.
Exclusive film tutorials: http://tomantosfilms.com/store/
Watch hours of free tutorials here: http://bit.ly/Tmd65z
_____________________________
Follow me on:
Twitter: http://twitter.com/TomAntos
Facebook http://www.facebook.com/TomAntosFilms
Google+ http://bit.ly/18oyRJB
My name's Tom Antos and I make videos. I am a film director and cinematographer with over 12 years experience in VFX & animation. Jak sie masz?! I'm originally from Poland ;) Check out my channel here: http://www.youtube.com/user/polcan99

More info here: http://tomantosfilms.com/5099/led-fresnel-lights/
Buy these lights and other CAME products on their eBay store: http://bit.ly/1mQvoit
And their website: http:www.came-tv.com/
In this video I review 2 LEDFresnel lights from a Chinese company CAME-TV. These are great lights because they are just as powerful as a 1000 watt tungsten halogen light yet they only use 200 watts of electricity PLUS they don't produce any heat.
Exclusive film tutorials: http://tomantosfilms.com/store/
Watch hours of free tutorials here: http://bit.ly/Tmd65z
_____________________________
Follow me on:
Twitter: http://twitter.com/TomAntos
Facebook http://www.facebook.com/TomAntosFilms
Google+ http://bit.ly/18oyRJB
My name's Tom Antos and I make videos. I am a film director and cinematographer with over 12 years experience in VFX & animation. Jak sie masz?! I'm originally from Poland ;) Check out my channel here: http://www.youtube.com/user/polcan99

In this tutorial I cover making Iridescence/thin film effects on materials. This is useful when trying to make soap bubbles, bug shells and exotic car paints. I...

In this tutorial I cover making Iridescence/thin film effects on materials. This is useful when trying to make soap bubbles, bug shells and exotic car paints. I cover using the Maya Samplerinfo and rsFresnel utility nodes to create this effect. Feel free to comment or ask questions below.
Subscribe to my Channel to follow new tutorials and feel free to follow my work and social media in the links below.
Follow me:
artofsaul.com
facebook.com/TheArtofSaul/
linkedin.com/in/saul-espinosa-243008b
Twitter: @theartofsaul

In this tutorial I cover making Iridescence/thin film effects on materials. This is useful when trying to make soap bubbles, bug shells and exotic car paints. I cover using the Maya Samplerinfo and rsFresnel utility nodes to create this effect. Feel free to comment or ask questions below.
Subscribe to my Channel to follow new tutorials and feel free to follow my work and social media in the links below.
Follow me:
artofsaul.com
facebook.com/TheArtofSaul/
linkedin.com/in/saul-espinosa-243008b
Twitter: @theartofsaul

Aputure 300D [The incredible strong filmmaking LED lamp]

We are back with a new filmmaking video about the incredible strong LED lamp Aputure COB 300D!
Support us by becoming a Patron: http://www.patreon.com/andyax
...

We are back with a new filmmaking video about the incredible strong LED lamp Aputure COB 300D!
Support us by becoming a Patron: http://www.patreon.com/andyax
The Aputure COB 300D will give you as much light as 142000 lux at 0.5 meters with a Fresnel mount, which makes it approximately equivalent to a 2000 watts tungsten lamp or a 400 watts HMI (those lamps are way more expensive, are warmer, heavier and bigger). In addition to being a strong daylight lamp with around 5500Kelvin, it has a high CRI and TLCI value. This means that the lamp produces natural colors. Many cheap led lamps tend to make a greenish artificial light which makes it hard to color-correct natural skin tones in post.
The Aputure 300D is built with aluminum and weighs 2.1 kilos. The lamp has the widely used Bowens mount so you can use many types of accessories, like softboxes etc. You get a Bowens mount reflector with it, a controller box to power on and off the lamp, dim it and customize how you want to operate it with the remote controller. The remote operates at 2.4 GHz radio frequency, letting you control the lamp up to 150 meters away.
Can we light a whole horror film with just the 300D and two reflectors?
You can buy Aputure 300D here: https://www.bhphotovideo.com/c/product/1348425-REG/aputure_ls300d_ls_300_d_daylight.html/BI/20363/KBID/15164/kw/APC300D/DFF/d10-v2-t1-xAPC300D
Support Wiral on Kickstarter and be one of the first to get your own Wiral Lite here: http://www.wiralcam.com
Subscribe for more filmmaking videos!
Follow us on Facebook: http://Facebook.com/Andyaxproductions
Follow us on Instagram: Andyax_Youtube
www.axp.no

We are back with a new filmmaking video about the incredible strong LED lamp Aputure COB 300D!
Support us by becoming a Patron: http://www.patreon.com/andyax
The Aputure COB 300D will give you as much light as 142000 lux at 0.5 meters with a Fresnel mount, which makes it approximately equivalent to a 2000 watts tungsten lamp or a 400 watts HMI (those lamps are way more expensive, are warmer, heavier and bigger). In addition to being a strong daylight lamp with around 5500Kelvin, it has a high CRI and TLCI value. This means that the lamp produces natural colors. Many cheap led lamps tend to make a greenish artificial light which makes it hard to color-correct natural skin tones in post.
The Aputure 300D is built with aluminum and weighs 2.1 kilos. The lamp has the widely used Bowens mount so you can use many types of accessories, like softboxes etc. You get a Bowens mount reflector with it, a controller box to power on and off the lamp, dim it and customize how you want to operate it with the remote controller. The remote operates at 2.4 GHz radio frequency, letting you control the lamp up to 150 meters away.
Can we light a whole horror film with just the 300D and two reflectors?
You can buy Aputure 300D here: https://www.bhphotovideo.com/c/product/1348425-REG/aputure_ls300d_ls_300_d_daylight.html/BI/20363/KBID/15164/kw/APC300D/DFF/d10-v2-t1-xAPC300D
Support Wiral on Kickstarter and be one of the first to get your own Wiral Lite here: http://www.wiralcam.com
Subscribe for more filmmaking videos!
Follow us on Facebook: http://Facebook.com/Andyaxproductions
Follow us on Instagram: Andyax_Youtube
www.axp.no

NEWVERSION with improved sound: https://www.youtube.com/watch?v=LQnvksRdHFg
US ArmyTrainingFilm playlist: https://www.youtube.com/playlist?list=PL0C7C6CCF1C0DEBB3
more at http://quickfound.net/links/military_news_and_links.html
"This training film shows virtually all the weapons and ammunition used by the US Army in WWII and how they are being used most efficiently."
US Army Training Film TF7-1266
completely different 1953 film with same title:
https://www.youtube.com/watch?v=nfjX847FBlU
Public domain film from the US National Archives, slightly cropped to remove uneven edges, with the aspect ratio corrected, and one-pass brightness-contrast-color correction & mild video noise reduction applied.
The soundtrack was also processed with volume normalization, noise reduction, clipping reduction, and/or equalization (the resulting sound, though not perfect, is far less noisy than the original).
http://creativecommons.org/licenses/by-sa/3.0/
https://en.wikipedia.org/wiki/M1911_pistol
The M1911 is a single-action, semi-automatic, magazine-fed, recoil-operated pistol chambered for the .45ACP cartridge. It served as the standard-issue sidearm for the United States Armed Forces from 1911 to 1986. It was first used in later stages of the Philippine-American War, and was widely used in World War I, World War II, the Korean War, and the Vietnam War. The pistol's formal designation as of 1940 was AutomaticPistol, Caliber .45, M1911 for the original model of 1911 or Automatic Pistol, Caliber .45, M1911A1 for the M1911A1, adopted in 1924. The designation changed to Pistol, Caliber .45, Automatic, M1911A1 in the Vietnam era.
In total, the U.S. procured around 2.7 million M1911 and M1911A1 pistols in military contracts during its service life. The M1911 was replaced by the 9mm BerettaM9 pistol as the standard U.S. sidearm in October 1986, but due to its popularity among users, it has not been completely phased out. Modernized derivative variants of the M1911 are still in use by some units of the U.S. ArmySpecial Forces, the U.S. Navy and U.S. MarineCorps.
Designed by John Browning, the M1911 is the best-known of his designs to use the short recoil principle in its basic design. The pistol was widely copied, and this operating system rose to become the preeminent type of the 20th century and of nearly all modern centerfire pistols. It is popular with civilian shooters in competitive events such as USPSA, IDPA, International Practical Shooting Confederation, and Bullseye shooting. Compact variants are popular civilian concealed carry weapons, because of the design's relatively slim width and the power of the .45 ACP cartridge...
https://en.wikipedia.org/wiki/M3_submachine_gun
The M3 was an American .45-caliber submachine gun adopted for U.S. Army service on 12 December1942, as the United StatesSubmachine Gun, Cal. .45, M3. The M3 was chambered for the same .45 round fired by the Thompson submachine gun, but was cheaper to produce, lighter, and more accurate. The M3 was commonly referred to as the "Grease Gun" or simply "the Greaser," owing to its visual similarity to a mechanic's grease gun.
Intended as a replacement for the .45-caliber Thompson series of submachine guns, the M3 and its improved successor, the M3A1 began to replace the Thompson in first-line service in late 1944 and early 1945. Due to delays caused by production issues and approved specification changes, the M3/M3A1 saw relatively little combat use in World War II...
https://en.wikipedia.org/wiki/M1_carbine
The M1 carbine (formally the United States Carbine, Caliber .30, M1) is a lightweight .30 caliber semi-automatic carbine that became a standard firearm for the U.S. military during World War II, the Korean War and the Vietnam War, and was produced in several variants. Easy to use, it was widely used by U.S. and foreign military, paramilitary and police forces, and has also been a popular civilian firearm.
In selective-fire versions capable of fully automatic firing, the carbine is designated the M2 carbine. The M3 carbine was an M1 or M2 with an active infrared scope system. Unlike conventional carbines, which are generally shorter-barreled versions of a longer parent rifle (like the earlier .30-40 U.S. Krag rifle and carbine and the later M16 rifle and M4 carbine), the M1 carbine has only one minor part in common with the unrelated larger M1 Garand, a short buttplate screw, and fires a different cartridge...

NEWVERSION with improved sound: https://www.youtube.com/watch?v=LQnvksRdHFg
US ArmyTrainingFilm playlist: https://www.youtube.com/playlist?list=PL0C7C6CCF1C0DEBB3
more at http://quickfound.net/links/military_news_and_links.html
"This training film shows virtually all the weapons and ammunition used by the US Army in WWII and how they are being used most efficiently."
US Army Training Film TF7-1266
completely different 1953 film with same title:
https://www.youtube.com/watch?v=nfjX847FBlU
Public domain film from the US National Archives, slightly cropped to remove uneven edges, with the aspect ratio corrected, and one-pass brightness-contrast-color correction & mild video noise reduction applied.
The soundtrack was also processed with volume normalization, noise reduction, clipping reduction, and/or equalization (the resulting sound, though not perfect, is far less noisy than the original).
http://creativecommons.org/licenses/by-sa/3.0/
https://en.wikipedia.org/wiki/M1911_pistol
The M1911 is a single-action, semi-automatic, magazine-fed, recoil-operated pistol chambered for the .45ACP cartridge. It served as the standard-issue sidearm for the United States Armed Forces from 1911 to 1986. It was first used in later stages of the Philippine-American War, and was widely used in World War I, World War II, the Korean War, and the Vietnam War. The pistol's formal designation as of 1940 was AutomaticPistol, Caliber .45, M1911 for the original model of 1911 or Automatic Pistol, Caliber .45, M1911A1 for the M1911A1, adopted in 1924. The designation changed to Pistol, Caliber .45, Automatic, M1911A1 in the Vietnam era.
In total, the U.S. procured around 2.7 million M1911 and M1911A1 pistols in military contracts during its service life. The M1911 was replaced by the 9mm BerettaM9 pistol as the standard U.S. sidearm in October 1986, but due to its popularity among users, it has not been completely phased out. Modernized derivative variants of the M1911 are still in use by some units of the U.S. ArmySpecial Forces, the U.S. Navy and U.S. MarineCorps.
Designed by John Browning, the M1911 is the best-known of his designs to use the short recoil principle in its basic design. The pistol was widely copied, and this operating system rose to become the preeminent type of the 20th century and of nearly all modern centerfire pistols. It is popular with civilian shooters in competitive events such as USPSA, IDPA, International Practical Shooting Confederation, and Bullseye shooting. Compact variants are popular civilian concealed carry weapons, because of the design's relatively slim width and the power of the .45 ACP cartridge...
https://en.wikipedia.org/wiki/M3_submachine_gun
The M3 was an American .45-caliber submachine gun adopted for U.S. Army service on 12 December1942, as the United StatesSubmachine Gun, Cal. .45, M3. The M3 was chambered for the same .45 round fired by the Thompson submachine gun, but was cheaper to produce, lighter, and more accurate. The M3 was commonly referred to as the "Grease Gun" or simply "the Greaser," owing to its visual similarity to a mechanic's grease gun.
Intended as a replacement for the .45-caliber Thompson series of submachine guns, the M3 and its improved successor, the M3A1 began to replace the Thompson in first-line service in late 1944 and early 1945. Due to delays caused by production issues and approved specification changes, the M3/M3A1 saw relatively little combat use in World War II...
https://en.wikipedia.org/wiki/M1_carbine
The M1 carbine (formally the United States Carbine, Caliber .30, M1) is a lightweight .30 caliber semi-automatic carbine that became a standard firearm for the U.S. military during World War II, the Korean War and the Vietnam War, and was produced in several variants. Easy to use, it was widely used by U.S. and foreign military, paramilitary and police forces, and has also been a popular civilian firearm.
In selective-fire versions capable of fully automatic firing, the carbine is designated the M2 carbine. The M3 carbine was an M1 or M2 with an active infrared scope system. Unlike conventional carbines, which are generally shorter-barreled versions of a longer parent rifle (like the earlier .30-40 U.S. Krag rifle and carbine and the later M16 rifle and M4 carbine), the M1 carbine has only one minor part in common with the unrelated larger M1 Garand, a short buttplate screw, and fires a different cartridge...

Review of Arri 650 Fresnel Chinese Clone

Arri makes the very well known line of fresnel hot lights used mainly in film and video broadcast, at least historically. These lights are super useful because you can use them in so many ways. The only problem for those of us on a budget, of course, is the price. The 650 with barn doors will cost somewhere around $450 US.
In the last few years, we've seen a bunch of Chinese manufacturers produce clones of the Arri fresnel lights at much more aggressive prices. Most of them range between $100 and $200 US for the 650 watt models.
I recently bought a 650 watt:
http://amzn.to/1Eq72kK
And you can find the genuine Arri here:
http://www.bhphotovideo.com/c/product/72020-REG/Arri_531600_650_Watt_Plus_Tungsten.html/BI/19904/KBID/12941/kw/ARF650/DFF/d10-v2-t1-xARF650
(Note that is the light without barn doors which cost an additional ~$65 US)
In this review we look at whether the clone that costs about 1/4 the price is just as good, or at least good enough.
Music by Curtis Judd
This episode shot with the following:
- Nikon D600
- Nikkor 80-200mm f/1.8D Lens
- RODE NTG-2 ShotgunMicrophone
- Tascam DR-100 mk II Recorder
- LS Pro PhotoStudio TS 650 W fresnel light

2:29

FILM GEAR: Dracast Fresnel Daylight LED Light

Today I discuss the Dracast Fresnel 2000 Daylight LED Light. We used it on set on our shor...

FILM GEAR: Dracast Fresnel Daylight LED Light

Today I discuss the Dracast Fresnel2000DaylightLEDLight. We used it on set on our short and I really like it!
The Fresnel 2000 Daylight LED Light from Dracast is packed with the latest LED technology backed with solid construction, intuitive design and a wide 15-60 degree range of beam adjustment. The daylight balanced light has a Kelvin temperature or 5,600 for work outdoors or to match other light sources such as HMIs. Dimming from 0-100% is easily done locally on the unit or remotely via DMX.
The Fresnel 2000 outputs the equivalent of a 2,000W tungsten halogen Fresnel while running cool to the touch and consuming a fraction of the power, resulting in lower HVAC running costs in the studio and a quick return on your investment. The light ships with a 100-240 VAC power adapter for worldwide use and it also runs on 24 VDC in locations where mains power is unavailable. The Fresnel 2000 comes with a 5/8" receiver for hanging or stand mounting.
The performance of a large fresnel fixture comes together with the advantages of LED technology in the Dracast LED Fresnel Series. The Dracast Fresnel2000 houses an array of 48 high-powered, surface-mount LEDs firing behind an ultra-efficient fresnel lens. The LED array is carefully inspected to ensure outstanding color consistency while the fresnel lens ensures maximum output captured from each ultra-bright 5 watt LED.
All this adds up to a light fixture that delivers tremendous light output while using just 200 watts. Add to this a completely silent, passive, heat-sink cooling system, and the Dracast Fresnel series is an extremely versatile fixture, perfectly suited for any major studio or field application.

1:57

Fresnel Light 650 watts for Film Lighting

Fresnel Light 650 watts for Film Lighting
available now in Tone Media for rent
Contact In...

CINEMATIC LIGHTING: Understanding Daylight vs Tungsten

We are getting more and more technical with our lighting goodness and today we are taking a close look at the differences between daylight and tungsten in terms of color balance for both lights and the white balance in your camera. With a clear understanding of these two main elements of lighting we can move on to manipulate color in lighting to achieve incredible epic cinematic images.
If you guys like or don't like this new type of filmmaking content let me know in the comments section below. Any feedback helps.
If you enjoyed this video on cinematic lighting, give it a thumbs up and share it with your friends!
Get this AWESOME TEMPLATE: https://goo.gl/2N1PMk
NeedAudioLogos & Idents?: https://goo.gl/SGqvA2
Get MUSIC PACKS for your projects HERE: https://goo.gl/cX7tdN
Huge thanks to the amazingly talented and beautiful model. Follow her on Instagram! ----- @nyc_yrj
Big thanks to Steven Grullon for all the help. Follow him on IG: @stevenoiz
Light Kit used: http://goo.gl/9WmW7c
▶MY INSTAGRAM: http://instagram.com/kriscoart
▶FOLLOW ME ON TWITTER: https://twitter.com/kriscoart
▶MY FACEBOOK: www.facebook.com/kriscoartproductions
MUSIC BY:
Y&V - Lune
Edited in Premiere CC
For business inquiries please contact me here:
kriscoartproductions@gmail.com
Thank you for watching
-Transcript-
Before jumping into colors and they can be used to support and further the story, in part one of this video, we'll explore some basic concepts that will be the foundation of what's to come.
So before talking about coloring your lights, let's take it a step back and talk about color correcting your lights. This topic can get pretty extensive and I will probably have a separate video for the various types of lights that require different types of correction, but for this video we will just focus on tungsten and daylight color temperature in a broader way.
The two might sound familiar to you even if you don't have much experience with lighting since they are often times white balance presets on your camera. The color temperature for your white balance on your camera and the color temperature of lights are very different things that serve the same purpose. Before we dive into what it means as far as lights and what it means as far as white balance let's take a look at the color temperature and how it reads in general.
Like I mentioned in the last video, tungsten is measured at 3200K and Kelvin is the unit of measurement for color temperature. This reads as a warm orangish look.
Then we have Daylight balance which is on the cooler blueish side of the color temperature spectrum.
In camera you are adjusting your white balance to read your scene properly (unless you are going for a particular type of effect). So if you are inside and have a bunch of lamps with incandescent light bulbs, which are usually tungsten balanced, then you would set your camera's white balance to tungsten. If your primary source of light is, lets say, coming from a window, then you would set your camera's white balance to Daylight since the color temperature coming in from the sunlight would measure roughly at around 5600K.
Beyond the camera, in your scene you can control what color temperature your lights are. You can do this simply by deciding whether or not your primary source is the sun or a desk lamp for example.
You can tie this in with what we talked about last week which is motivating your light with practical lights or by establishing a scene with a wide shot that lets the viewer understand where light is coming from.
You can then color correct individual lights to read at a certain color temperature to match the source of that light. So for example we can set our back light to daylight balance and keep our key and fill tungsten. This could work if in your scene there is a window behind our subject and a lamp in the room casting a warmer light.
This stuff might sound confusing at first especially when you are designing your lights in your scene but with time it becomes easier. Key points to remember for now are
TUNGSTEN - Warm/OrangeLook 3200K (Indoors)
DAYLIGHT - Cool/Blue Look 5600K (Outdoors)
So now that we understand this in theory, how do we actually do it?
The answer is gels.
For this video we are going to look at color correcting gels. These are slightly different than normal coloring gels since color correcting gels are used to convert the color balance of a light. The B in CTB stands for Blue. The O in CTO stands for Orange.
If you want to warm up a daylight balanced light you would add a CTO gel. If you want to convert a tungsten balance light to a cooler and more blue color then you would add a CTB gel.
There are also a number of gels that convert the numerous types of common fluorescent lights to mix better with tungsten or daylight sources but I will dedicate a full video that will go over every type of light and what gel to use to color correct those types of lights based on what you need.

1:28

CINELIGHT TUNGSTEN FRESNEL LIGHTING KIT: 1000W + 650W + 300W

Tungsten Fresnel lighting kit for interviews, video and film productions from http://www.c...

How To Film Incredible Dancing Footage In Your Wedding Films!

My favorite wedding filmmaking gear: https://kit.com/whoismatt
Today, I have a new tutorial for you all about how I film dancing at a wedding reception. In it, I cover four key tips that should help your improve your footage of people dancing during a wedding reception. The open dance floor doesn't have to be boring or intimidating! It can be a lot of fun, I promise.
In this video I cover:
😀How to interact with the couple, wedding coordinator, and DJ when preparing to film the dancing at the reception.
💡A way to light the dance floor and make it look incredible even when there's awful venue lighting.
💃My go-to technique to get more energetic dancing shots that show how much fun the wedding guests were having.
😮The exact way I shoot to make editing dancing footage super easy in post (it's almost editing itself!)
If any of that interests you, I would highly recommend checking out the video. :)
Get the lights, stands, and dimmer I talked about in the video at this link: https://kit.com/whoismatt/reception-lighting-gear-for-wedding-filmmakers#recommendation228324
Here are links to the lights and dimmer I talked about in the video:
- Arri 150WattLight: http://www.amazon.com/dp/B0067HQX24?tag=whoismatt_kit-20
- Arri Barn Doors: http://www.amazon.com/dp/B000B75RWS?tag=whoismatt_kit-20
- Light Dimmer: http://www.amazon.com/dp/B00YEGVC6W?tag=whoismatt_kit-20
- CheetahStand light Stand: http://www.amazon.com/dp/B0051CK5FM?tag=whoismatt_kit-20
- Lowel Pro-light: http://www.bhphotovideo.com/c/product/285941-REG/Lowel_P2_101_Pro_Light_Focus_Flood_Light.html/BI/7258/KBID/7778/KWID/KIT
- Lowel Pro-light Barn Doors: http://www.amazon.com/dp/B0000ALKJR?tag=whoismatt_kit-20
- Dedolight: http://www.bhphotovideo.com/c/product/298701-REG/Dedolight_DLHDIM4U_DLH4_150W_Spotlight_with.html/BI/7258/KBID/7778/KWID/KIT
- Dedolight Barn Doors: http://www.bhphotovideo.com/c/product/382390-REG/Dedolight_DBD8_8_Leaf_Barndoor_Set.html/BI/7258/KBID/7778/KWID/KIT
Check out the wedding films I used in this video:
👰Meant To BeTogether Since Grade School: https://www.youtube.com/watch?v=dUrvT8utN8o
👰Scotland Meets Texas: https://www.youtube.com/watch?v=xF7jKvIFphA
👰High SchoolSweethearts in the Hill Country: https://www.youtube.com/watch?v=lBjf09gJuzM
👰My breath of life, my other half, my Cinderella: https://www.youtube.com/watch?v=EGWJSsJ6SzA
As always, if you have any questions or comments, please feel free to leave one below or get in touch through my blog: http://whoismatt.com
🎥This vlog was filmed with the Sony A7sii, a really cool camera that you can check out on Amazon here: http://amzn.to/2mx5IwA.
📷You can check out the rest of the gear I use for filmmaking at my GearPage on my site at http://whoismatt.com/gear
🤓I am also now offering one-on-one personal filmmaker consulting! Wanna talk about cameras, lighting, or booking clients? Let's do it! http://whoismatt.com/consulting
If you want to keep up with my photos, videos, and other behind-the-scenes stuff, follow me on Instagram at http://www.instagram.com/whoismatt
I also post a ton of video related things to my Facebook Page at http://www.facebook.com/whoismattcom
Music licensing sites I recommend:
🎧 SoundStripe - http://bit.ly/sound_stripe (use the coupon code "WHOISMATT" for 10% off a yearly or monthly subscription!)
🎷 ART LIST - http://bit.ly/artlist_music_licensing
🎤 Filmstro - http://bit.ly/filmstro (use the coupon code "WHOISMATT20_ANN" for 20% off all yearly licenses)
SENDSTUFF TO:
Matt JohnsonPO Box #451602
Garland, TX 75045
USA

7:25

Lighting 101: Quality of Light

This is our first installment of our Lighting 101 series, where Lauren walks us through an...

Lighting 101: Quality of Light

This is our first installment of our Lighting 101 series, where Lauren walks us through an important concept in film lighting: the quality of your light-- i.e. how hard or soft your light is.
In this video we cover the differences between hard and soft light, how the size and distance of your source affect the quality of your light, how to create hard and soft light using those concepts, and what diffusion actually does! Not only that, we'll tell you how to apply these concepts to your own lighting at home.
Have more questions? Ask Lauren directly in our forums!
http://j.mp/Lighting101Quality
For those interested, the lights used were:
HARDLIGHT:
800 Joleko with 50 degree barrel
SOFT LIGHT:
Two 4' 4Bank Kinos stacked on top of each other
DIFFUSION SECTION:
250 Diffusion Gel hand-held in front of the Joleko
Astra 1x1 Bicolor Litepanel, softbox added
Sola 6 Litepanel DaylightFresnel, bounced into large styrofoam bounce card
Inca 12 Litepanel Tungsten Fresnel, shot throught 8x8' silk on frame
- - -
Questions about our sponsors and how they work? A video on that soon, but we have an open policy and can answer your questions directly on our forums: http://discuss.rocketjump.com
- - -
Thanks for watching! More videos at http://school.rocketjump.com!
We are live on YouTube every Thursday at 4PM PST!
You can also follow us on Facebook & Twitter:
http://www.facebook.com/RJFilmSchool
https://twitter.com/rjfilmschool

Aircraft Carrier playlist: https://www.youtube.com/playlist?list=PLFA956A25F3C04DCF
US NavyTrainingFilm playlist: https://www.youtube.com/playlist?list=PLA40407C12E5E35A7
more at: http://scitech.quickfound.net/aviation_news_and_search.html
Detailed description of the Fresnel Lens Optical Landing System (FLOLS) used on US aircraft carriers.
US Navy Training Film MN-10442a
FLOLS Operation (MN-10442b): https://www.youtube.com/watch?v=vUFqnldTUI8
Originally a public domain film from the US Navy, slightly cropped to remove uneven edges, with the aspect ratio corrected, and one-pass brightness-contrast-color correction & mild video noise reduction applied.
The soundtrack was also processed with volume normalization, noise reduction, clipping reduction, and/or equalization (the resulting sound, though not perfect, is far less noisy than the original).
https://en.wikipedia.org/wiki/Optical_landing_system
Wikipedia license: http://creativecommons.org/licenses/by-sa/3.0/
An optical landing system (OLS) (nicknamed "meatball" or simply, "Ball") is used to give glidepath information to pilots in the terminal phase of landing on an aircraft carrier. From the beginning of aircraft landing on ships in the 1920s to the introduction of OLSs, pilots relied solely on their visual perception of the landing area and the aid of the Landing Signal Officer (LSO in the U.S. Navy, or "batsman" in the Commonwealth navies). LSOs used colored flags, cloth paddles and lighted wands. The OLS was developed after World War II and was deployed on U.S. Navy carriers from 1955. In its developed form, the OLS consists of a horizontal row of green lights, used as a reference, and a column of vertical lights. The vertical lights signal whether the aircraft is too high, too low, or at the correct altitude as the pilot descends the glide slope towards the carrier's deck. Other lights give various commands and can be used to require the pilot to abort the landing and "go around." The OLS remains under control of the LSO, who can also communicate with the pilot via radio...
At least three sets of lights are used, regardless of the actual technology:
- Datum lights – a horizontal row of green lamps used to give the pilot a reference against which he may judge his position relative to the glide slope.
- Ball (or "meatball"; also known as "the source") – indicates the relative position of the aircraft with reference to glide slope. If the aircraft is high, the ball will be above the datum lights; if the aircraft is low, the ball will be similarly below the datum lights. The further the aircraft is from the glide slope, the further the ball will be above or below the datum lights. If the aircraft gets dangerously low, the ball appears red. If the aircraft gets too high, the ball appears to go off the top.
- Wave-off lights – red flashing lamps which, when lit, indicate that the pilot must add full power and go around – a mandatory command. When the wave-off lights are lit, all other lamps are extinguished. The wave-off lights are operated manually by the LSO.
Additionally, some (particularly later) optical landing systems include additional lamps:
- Cut lights – Green lamps used to signal different things based on where the approaching aircraft is in its approach. Early in a no-radio or "zip-lip" approach (which is routine in modern carrier operations), Cut Lights are flashed for approximately 2–3 seconds to indicate that the aircraft is cleared to continue the approach. Subsequent flashes of the Cut Lights are used to prompt the pilot to add power. The longer the lights are left on, the more power should be added. Cut Lights are operated manually by the LSO...
The first OLS was the mirror landing aid, one of several British inventions...
Fresnel lens optical landing system (FLOLS)
Later systems kept the same basic function of the mirror landing aid, but upgraded components and functionality. The concave mirror, source light combination was replaced with a series of fresnel lenses. The Mk 6 Mod 3 FLOLS was tested in 1970 and had not changed much, except for when ship’s heave was taken into account with an Inertial Stabilization system. These systems are still in wide use on runways at US Naval Air Stations.
Improved fresnel lens optical landing system (IFLOLS)
The IFLOLS, designed by engineers at NAECLakehurst, NJ, keeps the same basic design but improves on the FLOLS, giving a more precise indication of aircraft position on the glideslope. A prototype IFLOLS was tested on board USS George Washington (CVN-73) in 1997 and every deploying aircraft carrier since 2004 has had the system. The Improved Fresnel Lens Optical Landing System, IFLOLS, uses a fiber optic "source" light, projected through lenses to present a sharper, crisper light. This has enabled pilots to begin to fly "the ball" further away from the ship making the transition from instrument flight to visual flight smoother...

When it comes to filmmaking, lighting is a powerful tool that you need to understand when it comes to telling your story. Learn 6 ways to use light with Diffused, Bounce, and NegativeFill. These light modifiers are a huge help when shaping light. We will compare hard light vs. soft light. To create a soft light the light must be diffused. We will also show how to bounce light from a diffuser and a white board. And finally, we will take a look at the power of negative fill to create contrast.
MusicUsed in this Video:
http://bit.ly/2t7xrrP
Equipment Used in this Video:
KeyLight: http://amzn.to/2vXqsQg
5in1 with Diffuser: http://amzn.to/2vWMva1
Reflector Holder: tp://amzn.to/2x6bIz5
FloppyCutter: http://amzn.to/2vSD3Go
Additional Gear I use:
CAMERA
BlackMagic CinemaCamera: http://amzn.to/2pwEEzq
LENSES
Canon L 16-35mm: http://amzn.to/2p1wJZF
Rokinon 50mm: http://amzn.to/2q3msNW
Rokinon 85mm: http://amzn.to/2oJ8UTL
LIGHTING
Key Light: http://amzn.to/2tbkw7X
Diffusion for Key Light: http://amzn.to/2sbU894
Fresnel for Key Light: http://amzn.to/2sbZOja
Back & Ambient Light: http://amzn.to/2otKXE3
GELS
ColorCorrection: http://amzn.to/2taVhCc
Color Effects: http://amzn.to/2taJjbD
Music from PremiumBeat.com
https://www.premiumbeat.com/
LIGHT STANDS & GRIP
C-Stand: http://amzn.to/2rjyC6D
Light Stand: http://amzn.to/2rb3an7
Social Media:
Drop a like on Facebook: https://www.facebook.com/sonduckfilm
Hit me up on Instagram: http://instagram.com/sonduckfilm
Follow me on Twitter: https://twitter.com/SonduckFilm
Connect with me on Linkedin: https://www.linkedin.com/in/joshnoel
Visit our website https://www.sonduckfilm.com for more tutorials, giveaways and film and photo gear!

22:56

LED Fresnel Lights

More info here: http://tomantosfilms.com/5099/led-fresnel-lights/
Buy these lights and oth...

LED Fresnel Lights

More info here: http://tomantosfilms.com/5099/led-fresnel-lights/
Buy these lights and other CAME products on their eBay store: http://bit.ly/1mQvoit
And their website: http:www.came-tv.com/
In this video I review 2 LEDFresnel lights from a Chinese company CAME-TV. These are great lights because they are just as powerful as a 1000 watt tungsten halogen light yet they only use 200 watts of electricity PLUS they don't produce any heat.
Exclusive film tutorials: http://tomantosfilms.com/store/
Watch hours of free tutorials here: http://bit.ly/Tmd65z
_____________________________
Follow me on:
Twitter: http://twitter.com/TomAntos
Facebook http://www.facebook.com/TomAntosFilms
Google+ http://bit.ly/18oyRJB
My name's Tom Antos and I make videos. I am a film director and cinematographer with over 12 years experience in VFX & animation. Jak sie masz?! I'm originally from Poland ;) Check out my channel here: http://www.youtube.com/user/polcan99

2:38

Convert Your Fresnel to LED with VisionSmith ReLamp: NAB 2016

At NAB 2016, we talked with Pete Smith at VisionSmith for an overview of their new ReLamp ...

Convert Your Fresnel to LED with VisionSmith ReLamp: NAB 2016

At NAB 2016, we talked with Pete Smith at VisionSmith for an overview of their new ReLamp LED bulbs. With these, you can convert your old Arri or Mole-Richardson tungsten fresnel lights to LED at a fraction of the price of most of the current fresnel LED instruments on the market. Your fresnel still focuses just like with the halogen bulbs and the CRI for the daylight balanced bulb is 93, and for the tungsten balanced bulb is 98.
Special thanks to Scott Vanderbilt who was kind enough to bring his brand new SonyFS5 camera to film this series. He used this opportunity to learn his camera, so please understand that he did us a huge favor and also learned when auto focus would work or not work. :)
If you’d like to improve your sound recording skills for film, please have a look at our Sound Recording for Video course over at http://school.learnlightandsound.com
Visit us at http://learnlightandsound.com for more updates on how to improve your lighting and sound for video. Also be sure to subscribe to get new weekly episodes!
Gear mentioned in or used to record this episode:
—————————————————————————————
VisionSmith ReLamp LED Bulb for Arri and Mole-Richardson FresnelLights
Coming soon to Adorama and Barbizon
http://visionsmith.com
—————————————————————————————
Sennheiser MD 46Dynamic Cardioid Microphone (great handheld mic for show floor interviews)
Amazon: http://amzn.to/1T4CaLN
B&H Photo/Video: http://www.bhphotovideo.com/c/product/223940-REG/Sennheiser_MD46_MD46_Dynamic_ENG.html/BI/19904/KBID/12941/kw/SEMD46/DFF/d10-v2-t1-xSEMD46
—————————————————————————————
Sony FS5 Camera (Yes, the focus was hunting - lesson learned that the face detect auto focus does not work well when faces turn to the side)
B&H Photo/Video: http://www.bhphotovideo.com/c/product/1185424-REG/sony_pxw_fs5_xdcam_super_35.html/BI/19904/KBID/12941/kw/SOPXWFS5/DFF/d10-v2-t1-xSOPXWFS5
—————————————————————————————
Copyright 2016 by Curtis Judd
Ethics statement: Some of the links above are affiliate links which means that if you click on them and buy, I get a small commission. You don't pay more by clicking these links than if you just went to the retailer’s web site on your own. I use the proceeds to buy additional gear to review and help you improve your sound, lighting, and video. Thanks for your support!

11:13

Silent Movie Grace & Fresnel

Finally, this is the video we presented at Grace and Fresnel's wedding July 21st 2012. Ma...

Silent Movie Grace & Fresnel

Finally, this is the video we presented at Grace and Fresnel's wedding July 21st2012. Many people wanted to know how they met...so we decided to make a little video and exagerate certain aspects! BTW, great entertainment for the reception!

38:57

Fresnel Equations Part 2: Deriving the Equations

The Fresnel Equations
Part 3 of a series on electromagnetic radiation: The Fresnel Equatio...

Different types of lighting fixtures and why we need them in Cinematography

Support wolfcrow on Patreon for exclusive rewards: http://patreon.com/wolfcrow
Interview Lighting Guide: http://videoproduction.training/interviewlightingguideinteriors.html
Yongnuo YN-900 LightReview: https://www.youtube.com/watch?v=44NjE_5ED94
There are so many different kinds of lighting fixtures, but when do we pick which, and why?
Head over to wolfcrow.com for the best workflows and reviews for filmmakers, cinematographers and videographers. Follow us on social media:
Facebook: http://www.facebook.com/wolfcrowsocial
Twitter: http://www.twitter.com/wolfkrow
Instagram: https://www.instagram.com/wolfcrowsocial/
And don't forget to subscribe to this channel!

38:57

Fresnel Equations Part 2: Deriving the Equations

The Fresnel Equations
Part 3 of a series on electromagnetic radiation: The Fresnel Equatio...

LED Fresnel Lights

More info here: http://tomantosfilms.com/5099/led-fresnel-lights/
Buy these lights and other CAME products on their eBay store: http://bit.ly/1mQvoit
And their website: http:www.came-tv.com/
In this video I review 2 LEDFresnel lights from a Chinese company CAME-TV. These are great lights because they are just as powerful as a 1000 watt tungsten halogen light yet they only use 200 watts of electricity PLUS they don't produce any heat.
Exclusive film tutorials: http://tomantosfilms.com/store/
Watch hours of free tutorials here: http://bit.ly/Tmd65z
_____________________________
Follow me on:
Twitter: http://twitter.com/TomAntos
Facebook http://www.facebook.com/TomAntosFilms
Google+ http://bit.ly/18oyRJB
My name's Tom Antos and I make videos. I am a film director and cinematographer with over 12 years experience in VFX & animation. Jak sie masz?! I'm originally from Poland ;) Check out my channel here: http://www.youtube.com/user/polcan99

In this tutorial I cover making Iridescence/thin film effects on materials. This is useful when trying to make soap bubbles, bug shells and exotic car paints. I cover using the Maya Samplerinfo and rsFresnel utility nodes to create this effect. Feel free to comment or ask questions below.
Subscribe to my Channel to follow new tutorials and feel free to follow my work and social media in the links below.
Follow me:
artofsaul.com
facebook.com/TheArtofSaul/
linkedin.com/in/saul-espinosa-243008b
Twitter: @theartofsaul

1:56:00

I love you Anne (Full Haitian movie)

Probably the most popular Haitian movie of all times, the one that did make Tonton Bicha f...

Aputure 300D [The incredible strong filmmaking LED lamp]

We are back with a new filmmaking video about the incredible strong LED lamp Aputure COB 300D!
Support us by becoming a Patron: http://www.patreon.com/andyax
The Aputure COB 300D will give you as much light as 142000 lux at 0.5 meters with a Fresnel mount, which makes it approximately equivalent to a 2000 watts tungsten lamp or a 400 watts HMI (those lamps are way more expensive, are warmer, heavier and bigger). In addition to being a strong daylight lamp with around 5500Kelvin, it has a high CRI and TLCI value. This means that the lamp produces natural colors. Many cheap led lamps tend to make a greenish artificial light which makes it hard to color-correct natural skin tones in post.
The Aputure 300D is built with aluminum and weighs 2.1 kilos. The lamp has the widely used Bowens mount so you can use many types of accessories, like softboxes etc. You get a Bowens mount reflector with it, a controller box to power on and off the lamp, dim it and customize how you want to operate it with the remote controller. The remote operates at 2.4 GHz radio frequency, letting you control the lamp up to 150 meters away.
Can we light a whole horror film with just the 300D and two reflectors?
You can buy Aputure 300D here: https://www.bhphotovideo.com/c/product/1348425-REG/aputure_ls300d_ls_300_d_daylight.html/BI/20363/KBID/15164/kw/APC300D/DFF/d10-v2-t1-xAPC300D
Support Wiral on Kickstarter and be one of the first to get your own Wiral Lite here: http://www.wiralcam.com
Subscribe for more filmmaking videos!
Follow us on Facebook: http://Facebook.com/Andyaxproductions
Follow us on Instagram: Andyax_Youtube
www.axp.no

Infantry Weapons and Their Effects 1943 US Army; World War II Weaponry

NEWVERSION with improved sound: https://www.youtube.com/watch?v=LQnvksRdHFg
US ArmyTrainingFilm playlist: https://www.youtube.com/playlist?list=PL0C7C6CCF1C0DEBB3
more at http://quickfound.net/links/military_news_and_links.html
"This training film shows virtually all the weapons and ammunition used by the US Army in WWII and how they are being used most efficiently."
US Army Training Film TF7-1266
completely different 1953 film with same title:
https://www.youtube.com/watch?v=nfjX847FBlU
Public domain film from the US National Archives, slightly cropped to remove uneven edges, with the aspect ratio corrected, and one-pass brightness-contrast-color correction & mild video noise reduction applied.
The soundtrack was also processed with volume normalization, noise reduction, clipping reduction, and/or equalization (the resulting sound, though not perfect, is far less noisy than the original).
http://creativecommons.org/licenses/by-sa/3.0/
https://en.wikipedia.org/wiki/M1911_pistol
The M1911 is a single-action, semi-automatic, magazine-fed, recoil-operated pistol chambered for the .45ACP cartridge. It served as the standard-issue sidearm for the United States Armed Forces from 1911 to 1986. It was first used in later stages of the Philippine-American War, and was widely used in World War I, World War II, the Korean War, and the Vietnam War. The pistol's formal designation as of 1940 was AutomaticPistol, Caliber .45, M1911 for the original model of 1911 or Automatic Pistol, Caliber .45, M1911A1 for the M1911A1, adopted in 1924. The designation changed to Pistol, Caliber .45, Automatic, M1911A1 in the Vietnam era.
In total, the U.S. procured around 2.7 million M1911 and M1911A1 pistols in military contracts during its service life. The M1911 was replaced by the 9mm BerettaM9 pistol as the standard U.S. sidearm in October 1986, but due to its popularity among users, it has not been completely phased out. Modernized derivative variants of the M1911 are still in use by some units of the U.S. ArmySpecial Forces, the U.S. Navy and U.S. MarineCorps.
Designed by John Browning, the M1911 is the best-known of his designs to use the short recoil principle in its basic design. The pistol was widely copied, and this operating system rose to become the preeminent type of the 20th century and of nearly all modern centerfire pistols. It is popular with civilian shooters in competitive events such as USPSA, IDPA, International Practical Shooting Confederation, and Bullseye shooting. Compact variants are popular civilian concealed carry weapons, because of the design's relatively slim width and the power of the .45 ACP cartridge...
https://en.wikipedia.org/wiki/M3_submachine_gun
The M3 was an American .45-caliber submachine gun adopted for U.S. Army service on 12 December1942, as the United StatesSubmachine Gun, Cal. .45, M3. The M3 was chambered for the same .45 round fired by the Thompson submachine gun, but was cheaper to produce, lighter, and more accurate. The M3 was commonly referred to as the "Grease Gun" or simply "the Greaser," owing to its visual similarity to a mechanic's grease gun.
Intended as a replacement for the .45-caliber Thompson series of submachine guns, the M3 and its improved successor, the M3A1 began to replace the Thompson in first-line service in late 1944 and early 1945. Due to delays caused by production issues and approved specification changes, the M3/M3A1 saw relatively little combat use in World War II...
https://en.wikipedia.org/wiki/M1_carbine
The M1 carbine (formally the United States Carbine, Caliber .30, M1) is a lightweight .30 caliber semi-automatic carbine that became a standard firearm for the U.S. military during World War II, the Korean War and the Vietnam War, and was produced in several variants. Easy to use, it was widely used by U.S. and foreign military, paramilitary and police forces, and has also been a popular civilian firearm.
In selective-fire versions capable of fully automatic firing, the carbine is designated the M2 carbine. The M3 carbine was an M1 or M2 with an active infrared scope system. Unlike conventional carbines, which are generally shorter-barreled versions of a longer parent rifle (like the earlier .30-40 U.S. Krag rifle and carbine and the later M16 rifle and M4 carbine), the M1 carbine has only one minor part in common with the unrelated larger M1 Garand, a short buttplate screw, and fires a different cartridge...

Different types of lighting fixtures and why we ne...

Fresnel Equations Part 2: Deriving the Equations...

LED Fresnel Lights...

Redshift 2 Maya - Tutorial #7 - Iridescence - Samp...

I love you Anne (Full Haitian movie)...

How to Light a Wedding Reception...

Billions in Change - Official Film...

How editing can make you a better cinematographer...

Aputure 300D [The incredible strong filmmaking LED...

* OU FÈ FOT * OFF # 6 nouvo (Full movie ) YouTube ...

8.03 - Lect 18 - Index of Refraction, Reflection, ...

Award winning WEDDING FILMS! Career advice & filmm...

Fresnel Equations Part 1: The Boundary Conditions...

Infantry Weapons and Their Effects 1943 US Army; W...

It turns out that a theory explaining how we might detect parallel universes and prediction for the end of the world was proposed and completed by physicist Stephen Hawking shortly before he died ... &nbsp;. According to reports, the work predicts that the universe would eventually end when stars run out of energy ... ....

Article by WN.Com Correspondent Dallas DarlingIt wasn’t very long ago Republicans were accusing Democrats of either paying a few dollars to the homeless for votes or giving them a pack of cigarettes. But with Donald Trump, it’s obvious he paid $130,000 to an adult-film star in exchange for her silence last October and just before the general election ... Was the payment from his own account – or from a lawyer – or from campaign donations....

Using e-cigarettes may lead to an accumulation of fat in the liver, a study of mice exposed to the devices suggests. “The popularity of electronic cigarettes has been rapidly increasing in part because of advertisements that they are safer than conventional cigarettes ... Friedman of Charles R. Drew University of Medicine and Science in Los Angeles, California ... Circadian rhythm dysfunction is known to accelerate liver disease....

search tools

You can search using any combination of the items listed below.

Monday morning just got better with news of a great new film. Gen-next star Varun Dhawan will pair up with the sizzling Katrina Kaif for the first time in Remo D’Souza’s next dance film. While the announcement of the same has already made us impatient to know more about the film. And since we are still digging up more info for you, we give you five reasons why you, too, should be very excited for the film....

Sridevi, who was last seen in the 2017 film Mom, was to feature in Karan Johar’s production venture Shiddat ... Now, Shiddat is back on track and, Madhuri DixitNene has replaced Sridevi in the film....

Alaska filmmakers shot the seven-minute film over a two-day span in June, the Kodiak Daily Mirror reported . The film, "SpaceportSomewhere," includes views of control rooms and the facility's launch tower, as well as interviews with engineers and maintenance workers ... "The documentary tells the story of the blue-collar and high technology employees who make space exploration possible," according to the film synopsis....

Ever since the unprecedented success of Arjun Reddy, buzz around a VijayDevarakondafilm has been staggering ... "Vijay plays a taxi waalah in this film and there's been tremendous buzz surrounding this venture....

The good news is that from June 2018, the director will start shooting for his next film based on the story ‘Rakter Daag’. His last film in the popular detective series came in 2016 ... the film based on the story....

The film went on the floors in Hyderabad on Sunday, marking the occasion of Ugadi. Talking about the film, director Sriram said, “I’ve grown up watching Nagarjuna sir’s films and to get to work with him today is so exciting ... He added that the film can’t be segmented into one particular genre....